You play as Deniz, man trapped in a state between life and death, while simultaneously acts as both judge and accused in a confrontation with his own soul. Pera Coda explores Deniz’s traumatic memories through branching dialogues and layered environmental puzzles. Each time loop in this surreal Istanbul forces you to confront regrets, relationships, and hidden truths, uncovering mysteries that reshape the world around you.

Iconic real-world locations reflect Deniz’s fragmented psyche, merging the city’s East and West, chaos and peace. The gameplay uses intuitive point-and-click mechanics to focus on exploration, dialogue, and choices, rather than combat or item collection.

The post Mysterious Adventure Pera Coda is Set in Istanbul, Releases on Steam in 2026 first appeared on IndieGames.

We delved deeper into the game’s world, exploring its sources of inspiration, from Croatian mythology to literary works. We discussed the key role of the Croatian Audiovisual Centre (HAVC) in its development, learned what to expect from the game itself, heard about their experiences at Croatian gaming events, and found out which platforms will host this unique creation.

You can find Dark Queen of Samobor on Steam. The Vincetić brothers are also very active on Discord, with the game’s release date set for 2026, while a playtest is expected early next year.

Can you introduce us to the studio’s name, who makes up the team, and how the idea for Black Queen came about?

We chose the name Downtown Game Studio to promote Osijek, specifically Donji Grad, where we’re from. It doesn’t quite make sense since "downtown" usually means a city’s business center, and we live in the suburbs, but it’s Donji Grad, so Downtown it is.

We founded the studio in 2019, and Crna kraljica (Black Queen) isn’t our first game, at least not for consoles and PC. Before that, we spent three years developing hypercasual mobile games. I started the studio with my brother and another programmer, who later left us. That’s when our current programmer, Aleksandar Baranji, joined. Interestingly, while we were working on mobile games, Aleksandar was independently developing his own projects. We met, teamed up, and together released around 30 mobile games.

We always wanted to create a more serious game and hoped to hit it big with at least one mobile title to fund that dream. Though we didn’t achieve that financial breakthrough, collaborating with major mobile game publishers over those years gave us invaluable experience and knowledge.

The idea for Crna kraljica dates back to 2021, when we first submitted it to a HAVC public call. We weren’t accepted then, so we shelved the project and continued with mobile games. The turning point came in 2023 when we resubmitted it to a HAVC call, which was accepted this time, granting us initial funds for pre-production. This encouraged us to fully commit—we ended contracts with mobile publishers and focused entirely on Crna kraljica.

Besides our core trio, we have an incredibly talented concept artist from Zagreb, Fran Domljan, still a student currently interning with us. We hope this grows into a long-term partnership after his internship ends.

How Did You Come Up with the Story?

Inspired by the dark atmosphere of the last-gen console game Inside, we decided to create a similar side-scrolling experience. The opportunity arose with a HAVC contest, prompting us to develop a Croatian fantasy story. Growing up with dark fantasy films like Conan and Disney’s Sleeping Beauty, crafting a story in that vein felt natural. Our initial idea was to focus on characters from Ivana Brlić Mažuranić’s works and build a fantasy world around them. However, after consulting with Daniel Rafaelić, a renowned Croatian film scholar and historian, we were advised to explore less familiar themes. This led us to Šenoa’s “Zmijska kraljica” (The Serpent Queen), a poem about Barbara Celjska, the ruler of Medvedgrad known as the Black Queen.

When Daniel recommended Šenoa’s poem about the Serpent Queen, everything clicked. We realized we could build our own story on those foundations. Šenoa’s epic tells of a crusader who, returning from a campaign, encounters the Black Queen, the ruler of his homeland. A tragic love story unfolds between him, the queen, and his new love, a young girl. Our story diverges significantly from Šenoa’s, but it retains key elements: the queen, the crusader, and the young girl.

Šenoa’s tale served as a springboard for our own vision. However, we didn’t want to limit ourselves to Šenoa alone. Characters, locations, and events are rooted in Croatian mythology and culture, though we don’t strictly adhere to geographical truths. For example, the mountainous part of the game might resemble Velebit, but the characters there draw inspiration from other sources. Our goal is to create a dark fantasy world grounded in Croatian roots, blending elements from various literary works, including some characters from Ivana Brlić Mažuranić’s stories—we haven’t fully abandoned her influence.

Recently, you introduced the character and enemy Grabar, where do you draw inspiration for its look, and how do you come up with ideas for character designs?

We discovered Grabar while researching modern literature on Croatian folk tales and mythologies. Though such literature is scarce here, we strive to find and study available sources. For example, Vida Balog’s Hrvatska bajoslovlja explores ancient beliefs before the arrival of Christianity. In certain parts of Croatia, these beliefs still linger, with older generations passing down stories of ancient beings, as some regions only later fell under Christian influence.

It was through these local testimonies that we learned about Grabara and their nature. Our vision of Grabara is closer to what locals call Vodenjaci. So, we didn’t strictly adhere to historical accuracy but drew inspiration instead. Our Grabara align more with the description of Vodenjaci from those tales, though we also include Vodenjaci in the game, also inspired by these stories.

We work hard to gather as many references from Croatian culture as possible. Daniel has been a great help, providing insights about the Black Queen and the historical context of her life. While we don’t strictly follow historical facts, we aim to weave as many elements from real Croatian medieval history into the game.

How Did the Collaboration with Sandra Lončarić, the Voice of the Black Queen, Begin?

Finding a voice for our Black Queen for the trailer turned out to be surprisingly easy, thanks to Daniel. We had a script ready for the trailer and knew we needed a voice, but we weren’t sure about the scope of collaboration for the whole game, nor how much it would cost or how much text would be involved.

Daniel asked who was providing the voice, and we admitted we didn’t know yet. He then suggested Sandra Lončarić, which seemed unreal to us at the time. The very next day, I spoke with Sandra over the phone and arranged a meeting. She loved the idea. We proposed she not only voice the trailer but also lend her voice to the Black Queen throughout the game, and she agreed.

I think Sandra recognized the potential in our game, and local patriotism likely helped since both she and we are from Osijek. She was immediately thrilled about the project, and we’re honored to work with her. The Black Queen is the main anti-hero in the game, driving the plot and serving as the primary antagonist. The player’s goal is to reach her and confront her, making her an incredibly important character.

What Can We Expect in the Game?

We’ve put special focus on “cinematic” moments, unforgettable scenes, and an engaging story. It’s a linear experience lasting 3-4 hours, meaning you can finish it in one slightly longer play session.

The game is divided into several chapters, each offering a unique atmosphere and a boss fight at the end. Each boss is inspired by characters from Croatian literature or legends. Defeating a boss unlocks a new ability that mirrors the defeated foe’s power. For example, there’s the Plague Witch, inspired by Šenoa’s “Kuginja kuća.” After beating her, she controls time, the player gains the ability to slow down time.

This is one of the first special abilities you’ll unlock, and you’ll need to use it in later chapters to solve puzzles and progress. We place a big emphasis on camera direction. Perspective shifts won’t be random; you can’t freely change the view. Instead, the camera is carefully directed from start to finish, with changes used to highlight elements in the environment or create dramatic effects.

One of our key mechanics is axe-throwing, clearly inspired by God of War. The axe is used in both combat and puzzles. Alongside it, players will gain other special abilities, whose exact designs we’re still developing. Each will be unique and useful when combined with combat and puzzles. You’ll be able to choose which abilities to use in fights. There won’t be heavy RPG elements like skill trees or extensive character development, as the focus is on the linear story. Think of our game as Inside, but instead of a boy, you play as a knight armed with an axe and magic.

You mentioned Neva as an inspiration, will there be seasonal changes?

Our game will use a similar principle of environmental shifts, but instead of seasonal changes, we’ll focus on the time of day. The idea is for the player to journey through an entire day, starting in the morning and ending in the deepest night. This will bring significant environmental changes, as you’ll pass through different biomes, like mountainous and forested areas. In swampy regions, for example, Grabar, monsters lurking beneath the water’s surface, will wait for the right moment to ambush an unwary player.

What other enemies can we expect to encounter during gameplay?

Besides Grabara, we can mention the Red Crows (Order of the Crow), as we’ve named them, ninja-like warriors shown in the trailer. They are one of the Black Queen’s units, tasked with patrolling and guarding a section of the forest the player traverses. Known for using various traps and devices, they avoid direct confrontation, aiming to slow the enemy with obstacles. Of course, they’re also highly skilled in combat. All enemies will have different variants. For instance, within the Red Crows, we have light, heavy, melee, and ranged versions. Additionally, each new biome will introduce new enemy types. While the Red Crows inhabit the forest, the mountainous areas will feature entirely new creatures and beings.

To What Extent Has HAVC Supported This Project?

I often emphasize that without the Croatian Audiovisual Centre (HAVC), our game wouldn’t exist. While the financial support we received from HAVC was crucial for pre-production, its true value lies in something much deeper. Game development is an incredibly expensive process, so the recognition and backing from an institution with such experience and expertise were key. It gave us the real push to start this project. Of course, without the financial help, we couldn’t have begun, but the collaboration with HAVC offers so much more, including promotion and support. We’re truly grateful for everything they do for us.

I’d absolutely recommend that anyone with a development idea give it a try and not let bureaucracy or paperwork scare them off. The application process is actually simpler than it seems. I can confirm that Benjamin Noah Marićak from HAVC is incredibly approachable and ready to assist with everything needed during the application. This kind of support is incredibly valuable for the entire gaming community. The more quality projects we submit to HAVC, the more funding will flow back into the industry.

So, submitting an idea can’t hurt, and you might gain financial support, media exposure, mentorship, and key assistance for developing your own game. Therefore, I strongly encourage everyone to apply.

Are You Considering Launching a Kickstarter Campaign and Looking for a Publisher?

We’re currently preparing for a Kickstarter campaign set to start in early September, mainly to secure funding for further game development. At the same time, we’re actively seeking publishers and are in talks with several. If we secure funding through a publisher, the Kickstarter might not be necessary, but we’re not counting on that.

As a studio, you’ve attended the biggest gaming events in Croatia, what have been some of your experiences?

Participating in festivals like InfoGamer in Zagreb, the region’s largest indie game event, and Reboot Develop Blue in Dubrovnik, one of the world’s biggest gatherings, has proven invaluable for getting feedback on our game. At every conference and festival we attended, we brought a game prototype on a laptop, letting visitors try it out and share their impressions. Getting feedback this early in development is crucial.

For example, we’d arrive in Zagreb with one version, gather feedback, implement it, and then bring an improved version for another round of testing. Through this process, we found numerous bugs and received great suggestions that we added to the game. This is the primary benefit of such events, alongside the added exposure and visibility.

We were also featured on the Best Indie Game channel back in January. We weren’t sure how they found us, but they ranked us 25th on their top 25 list of new side-scrolling games. It was perfect since we were at the start of the video, and on the same day it was released, we gained 500-600 new wishlists from that single video. Recently, we applied again to his showcase, where he personally selects games he likes, and we made the cut. I can confirm firsthand that showcasing on bigger channels is worth it, as it definitely boosts visibility.

Where Will Dark Queen Be Playable? Can We Expect a Demo Version on Steam?

We’re primarily developing the game for PC, but our goal is to release it on all consoles—PlayStation, Xbox, and Switch. Whether we succeed will depend on our financial situation and potential partnerships with publishers who can support us. We think our game would fit perfectly on Switch 2, especially now that it’s out.

We plan to release a demo on Steam next year, closer to the game’s launch. We want to maintain good momentum between the demo and the full release, so it will likely be available during Steam Next Fest, about a year from now.

However, players will get to try the game earlier. This year, we’re planning a closed alpha test with part of the community, followed by a more open beta in the second or third month of next year. Only then, next summer, will the official demo hit Steam.

The post Josip Vincetić revealed what to expect in Dark Queen of Samobor, an adventure inspired by Croatian mythology first appeared on IndieGames.

You step into the shoes of Tobias, a young guy from a sleepy fishing village whose life gets turned upside down when he and his little brother discover a strange crystal. When his brother mysteriously falls ill, Tobias sets off on a desperate quest for answers, plunging into a world of shadowy forces. The story, which is expected to unfold over five to ten hours, is packed with twists and emotional weight, drawing inspiration from classics like Black Mirror and Kathy Rain.

What truly sets Two Realms apart is its dedication to making point-and-click adventures feel new and, more importantly, frustration-free. The developers Jaromír Janisch and Tomáš Létal have focused on puzzles that actually make sense, all rooted in logical character choices. Whether you’re solving a riddle or chatting with characters like Thaddeus, the law-obsessed mage, or Severin, the scruffy mystic who’s loyal to a fault, the gameplay feels intuitive yet still challenging.

The post Two Realms: Whispers from the Rift is a new emotional pixel-style game set in a medieval world, launching in 2026 first appeared on IndieGames.

Partnering with Harvey Whitman, an expert on occult cults, Foster delves into the darkest corners of Arkham, a city steeped in ominous secrets. The case unveils connections to witches who escaped the Salem trials of 1693 and a conspiracy that could forever alter the world as we know it.​

This classic point-and-click experience emphasizes inventory-based puzzles, featuring over 70 meticulously crafted pixel art backgrounds that bring Arkham’s eerie atmosphere to life. Inspired by the works of H.P. Lovecraft, the narrative includes encounters with iconic characters such as Herbert West, Keziah Mason, Doctor Carl Hill, and Henry Armitage.​

The Dark Rites of Arkham is slated for release in 2026 and will be available for PC via Steam.

The post Detective Jack Foster returns to the dark streets of Arkham in new Lovecraftian adventure The Dark Rites of Arkham first appeared on IndieGames.

Whispers of the Eyeless emerges from the shadows with an interesting premise: you control a secret cult in a dark fantasy world, using dangerous magic to bring old gods back to life. The game comes from Evil Gingerbread Studio, run by Venris (who became known for the Total War: Warhammer SFO: Grimhammer mod). It mixes different gameplay styles: turn-based combat, running your cult, and roguelike elements. Additionally, developers took inspiration from games like Darkest Dungeon, Loop Hero, and Children of Morta, as well as Polish folk stories.

It launched in Early Access after a very successful Kickstarter campaign (over 500% funded). However, right now, Whispers of the Eyeless has a strong foundation full of great atmosphere and potential but since it’s still unfinished, some parts feel rough or unclear. Personally, I really liked my first time playing it back in September last year, but I can see why it might not click for everyone. That said, I’m having fun with what’s there so far.

Trinity of Loops in Progress

Whispers of the Eyeless offers three main gameplay pillars: dungeon crawling, exploration, and cult management with a roguelite mode called Fate’s Mirror, as its Early Access centerpiece. You play as the First Prophet, infiltrating Aranthor’s districts to gather resources, recruit followers, and battle foes, all while nurturing your hidden sanctum.

The main gameplay loop involves exploring districts or dungeons and fighting enemies in turn-based battles. You’ll face corrupted guards and strange monsters. Your prophet can use blessings (power-ups from dead gods) and equipment. You’ll also need to manage health, sanity, and fervor (which works like morale for cultists). Combat is tactical but easy to understand: choose attacks, abilities, or blessings placed inside a dice, then watch the fight play out automatically.

Early battles are simple, like using an axe to cause bleeding or boosting damage with Wrath’s fury. Later fights require better teamwork between skills and passives. An auto-battle feature helps speed up repetitive fights, which is useful because the normal combat animations can be slow. The game is clearly inspired by Darkest Dungeon, especially with its sanity system, if your prophet loses too much sanity, they start to struggle.

However, the combat doesn’t feel as impactful. Unfortunately, luck plays too big of a role. Random blessings and enemy critical hits can suddenly turn battles in unexpected ways, making strategy feel less important than your lucky chances. The demo I played promised “hundreds of skills,” but even in the full version, the selection is still small even in Early Access. Some abilities are much stronger than others, so balancing is an issue. Updates in March added new enemies and modifiers, which helps with variety, but the game isn’t yet the “deep strategy experience” it claims to be.

Cult Management and Conquest in Aranthor

Between battles, you explore Aranthor’s districts using a point-and-click map. You choose paths that lead to different events, some give loot, others start fights, or let you recruit new followers. Your choices shape your cult’s future: side with Wrath for violence or Desire for trickery. This “Choose Your Own Adventure” style adds fun storytelling, but events start to feel repetitive over time. Right now, the Early Access districts look and play too similarly, with not enough variety in events. Still, the different paths show promise for more depth as the game grows.

Back at your sanctum, you take charge of your cult’s operations, managing resources like gold, influence, and materials while overseeing your followers. This is where you build altars, upgrade facilities, and perform dark rituals to appease the Dead Gods. The system stands out as the game’s most unique feature, requiring you to carefully balance your cult’s fervor to prevent betrayal, assign disciples to missions like sabotage or intelligence gathering, and decide which deity to favor for blessings.

The sanctum develops gradually, introducing new mechanics over time to help ease you into its complexity. However, the initial experience can feel overwhelming; the UI floods you with menus, and key mechanics like ritual costs or disciple traits aren’t always clearly explained, forcing you to learn through trial and error. Yet once everything clicks, managing your shadowy empire becomes deeply satisfying. It captures the intrigue of Cultist Simulator but with a darker, more hands-on approach to cult leadership.

Solid Foundation Needing Darker Depths

Additionally, items like the Rusted Axe, Crimson Robe or Madman’s Pendant tweak stats like health, damage, sanity resistance, or grant passives. Gear is tiered (common to rare), with higher tiers requiring sanctum upgrades. You can’t overhaul your prophet mid-run in Fate’s Mirror, but sanctum persistence lets you grind for better setups across attempts. It’s not Diablo-level loot depth, variety is limited, and RNG loot drops frustrate, but it adds customization.

The Early Access version mainly focuses on Fate’s Mirror, a roguelite mode where each playthrough is randomly generated. You can unlock special modifiers (called shards) that change gameplay, like stronger attacks or risky health penalties. While designed for replayability with different strategies to try, it currently feels limited. Runs only last a few hours, and there’s not enough content yet to keep you engaged long-term.

Right now, this mode works more as a mechanic test than a complete game experience. The full story campaign won’t arrive until the official 1.0 release and the core gameplay shows promise but needs work. Battles require more refinement and variety as exploration feels shallow, and managing your cult alternates between being interesting and frustrating. There’s a good foundation here, but the execution isn’t quite there yet.

Gothic Comic Come to Life

This year has brought us many great-looking games, and Whispers of the Eyeless is one of them. The game uses beautiful 2D hand-drawn art similar to Darkest Dungeon’s sketchy style, you’ll see rough ink lines, dark colors, and creepy monster designs, all with a comic book feel. The different areas of Aranthor show strong visual contrast, from dirty back alleys to mysterious cult hideouts. Enemies look truly frightening too, whether it’s massive fanatics or ghostly spirits. While the animations are simple, they work well, you’ll see satisfying blood sprays and glowing holy powers during fights.

The best visuals might be your cult’s altars, each representing a different Dead God. They’re full of character: Wrath’s altar looks like a sharp, dangerous throne, while Desire’s has smooth, tempting shapes. The music is minimal but powerful – deep hums, sorrowful violins, and ghostly chanting that build tension perfectly. Combat sounds like clashing swords and muttered spells come through sharp and clear. The game absolutely delivers its dark fantasy atmosphere. Every scene looks like a carefully painted piece of gothic art.

In the end, Whispers of the Eyeless shows great potential but isn’t quite finished yet. It combines Darkest Dungeon’s tense combat with deep cult management in a beautifully dark world. While the style and concept are fantastic, the Early Access version still needs work. If you love challenging strategy games and don’t mind waiting for improvements, it’s worth trying now. More casual players should probably wait for the full release in 2026. The developers have created something unique here, and with more time and polish, this could become a truly outstanding game. It’s definitely one to watch.

Review copy provided by the publisher

3.5

The post Whispers of the Eyeless - Dark Cult’s Unfinished Gospel first appeared on IndieGames.

The Steam Playtest runs until March 31, offering instant access through the game’s Steam page. It’s not a basic teaser but a “highly polished experience” covering the opening chapter, tutorials, early city growth, and port construction. My biggest disappointment is the lack of a sandbox or free exploration mode. The playtest offers about one to two hours of gameplay with solid voice acting and mechanics explained in detail. Still, what’s shown in the playtest looks very promising. I did encounter a few minor bugs, like quarries disappearing or frozen animations in buildings, but nothing game-breaking or too disruptive.

When I visited Željko at his studio earlier this year, I got an exclusive look at what the playtest would include, and now it’s exciting to see the gameplay out in the wild, with everyone able to experience it firsthand. Honestly, we’re seeing a surge of Roman city-builders lately, but Pompeii aims to strike a balance between realism and a touch of fantasy. Unlike typical historical retellings that focus on the eruption of Mount Vesuvius in 79 AD, this game starts 20 years after the disaster, casting you as the leader of a Roman family tasked with rebuilding the city from its ashes.

Living roman tapestry

In the game, you’ll build infrastructure like roads, water systems, and housing while managing resources such as food, stone, and wood. You’ll also need to ensure citizens thrive by providing jobs, maintaining hygiene, and offering entertainment. What I really like is how straightforward building is, though construction takes some time, the pacing feels just right. Plebeians and slaves each have their own roles, and building different types of houses is definitely important.

My biggest issue is with how money is earned. The playtest only showcased the marketplace, which doesn’t generate much income, and the tax office wasn’t available. This left me stuck at times, unable to continue building, which eventually forced me to just build the port and end the playtest. The UI is decent, the visuals are there but seem to lack proper polish, you can see the small pixels, and some animations are definetly not finished and stiff.

One thing to note is that I’m really hoping for more decorative options. I’m the type of builder who loves to beautify cities with statues and plants, but it was tough to do that since the game only offered a few options. I was hoping to experience the political side of the game, but the playtest focuses on straightforward gameplay with mission-based objectives. Željko did emphasize this point in our conversation earlier this year, and while it’s a good idea, it can feel repetitive if you’re just following quests without some freedom to explore or experiment.

Give it a try, you won’t be dissapointed

The technology aspect is well done. You don’t waste too much time researching, and progress feels gradual and rewarding. This turned out to be an intriguing feature, I found myself planning ahead for structures like the forum and reserving space for it in the city. The buildings also look incredibly authentic, giving you a genuine sense of being in the Roman era, and the animations for each structure add a unique touch.

Additionally, you can upgrade buildings to higher levels, unlocking benefits like more workers or a larger area of effect, such as with the architect building. However, I do wish there was a menu providing an overview of all buildings on the main screen, allowing you to upgrade them with a click instead of doing it manually.

There are some genuinely great ideas here, like placing stone quarries inside hills and clay manufactories near water, which makes logical sense. The inclusion of barber shops and possibly even physicians adds an intriguing layer, touching on historical details many of us might not know about. There’s also the ability to scavenge ruins for resources, which adds depth to the gameplay. To wrap it up, for city-builder and history enthusiasts, this is a must-try, especially since it’s free through the playtest. For now, it’s like excavating a Roman ruin, with the potential of uncovering a thriving city beneath.

The post [PREVIEW] Pompeii: The Legacy - Rebuilding a Roman City first appeared on IndieGames.

Centum drops you into a disorienting world framed as a “long-lost game never released,” blending retro aesthetics with a modern twist on artificial intelligence and existential dread. You begin as a prisoner in a cell, tasked with escaping, but the game quickly subverts expectations: is escape the goal, or a distraction from a deeper truth? Developed by the Tallinn, Estonia-based indie studio Hack The Publisher, known for Dwarven Skykeep (2022) and Vengeance of Mr. Peppermint (2023), and published by Serenity Forge, Centum offers a 3-5 hour experience, with replayability driven by its five distinct endings.

Story and Atmosphere: Tapestry of Doubt

Centum’s narrative is its beating heart and its most divisive element. You awaken in a sparse cell with a bed, a window, a table, and a rat trap, guided by cryptic instructions from an unseen narrator. Early interactions, like cutting your finger in the trap or growing a tree with your blood, hint at a surreal, possibly allegorical tale. As the game unfolds, you’re thrust into a computer desktop interface, clicking through programs, reading unsettling emails, and playing minigames that shift the perspective: are you a prisoner, a developer, or something else entirely?

The story revolves around an AI whose behavior you shape through choices, influencing its “ego states” and leading to outcomes like “Artist,” “Warrior,” “Prophet,” “Murderer,” or an undefined result. Themes of reality, identity, and the ethics of AI emerge, critiquing generative technology’s unreliability. The narrator’s hints are deliberately misleading, and characters like a snot-dripping rat with a human head or a morphing cat amplify the unease. There’s no singular protagonist; you’re a collaborator in a story that resists clarity.

Visually, Centum leans on pixel art that evolves from basic cell walls to richly detailed backdrops – claustrophobic labs, decaying cities, or grotesque fleshscapes. The art direction, paired with a haunting soundtrack of eerie drones and subtle melodies, crafts a nightmarish vibe, though less violent. Sound effects, dripping blood, creaking doors, heighten immersion, though the music can feel repetitive over time. It’s an atmosphere that lingers, worming into your subconscious, but its refusal to explain itself may alienate some of you craving resolution.

Clicking Through the Unknown

Mechanically, Centum is a point-and-click adventure with light puzzle-solving and dialogue choices. You interact with highlighted objects, rubbing a cloth on a window, poisoning a rat, or decoding a cipher, while navigating a dynamic dialogue system that shifts the AI’s personality. The game tracks every click and decision across a three-day cycle, resetting progress unless you uncover “lasting change”, a mechanic that ties into its time-loop premise. Minigames, like a Duck Hunt-style shooter or a 16-bit driving sim, break up the pace but feel more novel than essential.

Puzzles range from intuitive to abstract, reflecting the game’s ethos: you’re meant to feel lost. There’s no hand-holding, accessibility options are minimal, and progress often hinges on trial and error. Additionally, the desktop interface adds a meta layer, with emails and files hinting at a broader mystery, but it’s more atmospheric than functional.

Gameplay is intentionally sparse, prioritizing narrative over mechanics. This works for its artistic goals but may disappoint players expecting robust puzzles or action. The horror lies in psychological tension, unsettling visuals, cryptic exchanges, rather than jump scares, making it a slow burn that rewards patience but tests tolerance.

Ending Variations

As mentioned, your actions, dialogue responses, puzzle solutions, and minigame results feed into an unseen algorithm tracking the AI’s personality. The game doesn’t reveal exact triggers (no morality bar or stat screen), but patterns emerge. For example, warrior ending happens with aggressive choices, like poisoning everything in sight or excelling in combat minigames.

On the other side, prophet ending happens with philosophical or introspective decisions, where decoding ciphers, engaging with the narrator’s riddles yield a visionary AI. However, you’re never exactly sure which ending you’ll get. Each ending is brief: 5-10 minutes of text, visuals, and sound, but layered with subtext. The narrator’s tone shifts (mocking, mournful), and the AI’s final form (a serene figure, a hulking brute) reflects your influence.

Replayability is there, as uncovering all endings requires deliberate shifts in playstyle. A pacifist run contrasts sharply with a killer’s, and the Prophet path demands patience with the game’s densest puzzles. Easter eggs, like a hidden email or a rat’s whispered hint, surface on repeat plays, rewarding you if you’re curious. Centum’s endings are subtler, more impressionistic, leaning on atmosphere over exposition.

Centum Is a Game You Shouldn’t Miss

Without clear feedback on how your choices add up, you might accidentally stumble into different endings. While the endings fit the game’s simple style, they can feel underwhelming after 3-5 hours of buildup. There are also some technical issues, like a bug that resets dialogue choices mid-game, which can mess up your plans. Despite this, the variety and depth of the endings make each one interesting, even if the bigger picture stays unclear.

Centum is a hard-to-define game, part psychological horror, part AI critique, part point-and-click. It’s a short but powerful experience, best for players who enjoy mystery and don’t mind a story that doesn’t hold your hand. Its atmosphere and ideas are its strength, sticking in your mind like a half-remembered nightmare. However, its simple mechanics and unclear storytelling might feel like it’s more about mood than depth.

Review copy provided by the publisher

4

The post Centum – Jedinstvena narativna igra first appeared on IndieGames.

In Centum, you woke up in a prison cell inhabited by strange and otherworldly entities. Trapped in an eternal time loop, you must face judgment to break free. However, freedom is not as simple as it seems, as each escape leads to another cage, forcing you to confront a series of perplexing scenarios shrouded in mystery and uncertainty. The game is presented as a long-lost, never-released title, blurring the lines between reality and fiction.

Centum unfolds across several chapters, each featuring its own escape room and distinct gameplay elements. You will need to solve mind-bending puzzles and complete retro-inspired minigames to progress through the story. The game’s intricate narrative is filled with lore, side characters, and dark secrets, encouraging players to explore every detail to uncover the truth.

The post Haunting Point-and-Click Game Centum Finally Has a Release Date first appeared on IndieGames.

Slay the Alice

Slay the Alice is a horror game with a simple yet interesting approach. The game eliminates complex mechanics like action or logic puzzles, focusing entirely on choices and mouse controls. You guide Alice, a young girl who stumbles into a strange world filled with talking plants and eerie paths.

The game plays out like a storybook, with a roguelike map where every choice leads Alice down branching paths. The charming pixel art and delightful animations contrast with the suspenseful atmosphere, creating a hauntingly cute experience. Players are invited to uncover multiple endings as they explore this mysterious world.

Waiting in the Lime Forest

On the other side, set in 1920s suburban America, Waiting in the Lime Forest takes you into the role of Edward, a lawyer determined to clear his friend Oliver’s name after a false murder accusation.

As you navigate the story, you must make critical choices that influence the outcome. Oliver’s fragile mental state adds tension, as every decision could lead to salvation or doom. The game’s point-and-click mechanics, combined with a multi-ending system, could immerse you in a gripping thriller where uncovering the truth is paramount.

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New Arc Line has some exciting features as a story-focused CRPG. It creates a immersive world with decent combat. The most intriguing part is how the story combines magic and technology, giving the different characters you find scattered around the world a unique feel. However, since it’s an Early Access game, it has many problems, including a confusing story, bugs, optimization issues, and missing basic improvements.

The game offers several key features, including character customization, companions, detailed stats, and turn-based combat. While it doesn’t include an in-depth character editor, the simple customization system still provides plenty of options, such as various hairstyles, skin tones, and facial features to choose from. Currently, there are only two playable classes: the Voodoo Mage and the Dieselpunk Engineer. However, these classes offer considerable depth and flexibility. You can experiment with different playstyles, from using melee and magic to wielding guns and mechanical fists, making each one feel unique and engaging.

Choice-Driven Gameplay

The base stats system is another great feature, including traits like Deception, Knowledge of Magic, and Machinery. These stats make the game more complex and strategic. Skills in Charm, Perception, and Observation are especially useful. Unlike strong physical attacks, which can be compensated by a teammate, these skills really help you play better. If you fail a random challenge, you can still move forward by paying or trying other methods. The Deception skill is particularly important for finding hidden paths and extra content.

On the downside, companions feel generic and somewhat uninspired. While you can earn their respect, this doesn’t seem to have a significant impact on the overall gameplay experience. For example, you help Mick to deal with his debts, but it doesn’t go anywhere beyond that point. That said, each companion brings useful abilities to the table, adding strategic depth. The game becomes more dynamic and engaging when you manage multiple fronts and leverage different skills in combat.

One aspect I definitely commend New Arc Line for is its world-building. The steampunk setting, centered around the conflict between magic and technology, creates a rich and immersive environment. The main storyline features morally complex choices, such as rigging elections and exposing systemic oppression against mages. This is where the game truly shines. There are numerous places to explore, and each part of the main story includes large, detailed maps. Exploring these areas is engaging, clicking on everything around was genuinely fun. Some choices, like influencing the city’s stance on magic, carry weight and offer glimpses of deeper consequences Additionally, the ALT key highlights interactable objects, which is incredibly useful.

The story starts off confusing but gradually becomes clearer as it unfolds

Unfortunately, the dialogue quality varies, and character interactions often feel shallow. The start of the game is especially boring and uninteresting. Some side quests seem random or don’t make sense, and the main story only starts to come together after about five hours of playing. During the beginning, there are many unanswered questions and gaps in the plot, which can make it slow and frustrating. However, the game gets better as you gather more companions, and the experience becomes more fun and exciting the longer you play.

Combat in New Arc Line is straightforward but strategic, featuring diverse enemy types and tactical elements that make each encounter feel distinct. The turn-based system focuses on initiative, emphasizing the importance on preparation. Combat doesn’t punish your mistakes; when the battle ends, you return to full health. It also gets quite repetitive because you usually use the same moves, no matter the environment or the enemy. Some quests can be challenging if you don’t properly adjust your formation and keep upgrading. Alongside combat, there’s a crafting system that enables players to create grenades, weapons, armor, and new cards, which I’ll touch on shortly.

Despite its positives, the game falls short in some areas, particularly in its magic system, which often feels less impactful compared to firearms, making them the more efficient choice in many scenarios. Progression can feel slow, and while magic does improve later on, it is complicated by the mechanic of mage corruption, which restricts the frequent use of high-level spells due to severe consequences.

Technical Issues

The card system helps improve the weaknesses of magic by letting you unlock three types of cards using scrolls and purchases. By mixing different cards, you can learn useful skills, like binding up two targets to hit them at the same time. While you might not know the best combinations to try at first, knowing which cards work together makes it fun to discover new skills, making this system a great part of the game.

But these are not the biggest issues the game has. The current state lacks polish, especially compared to successful CRPGs like Baldur’s Gate 3 during its Early Access phase. The game suffers from frequent crashes, long loading times, and performance issues, which detract from the experience. Visuals are impressive, but character models and animations lack polish. There’s just so many weird animations, strange character turning and in general it’s not in the best shape.

The societal conflict between magic and technology is compelling but not fully realized. For example, warnings about using magic in public have no real consequences. They are some discriminatory prospects, for example how mages are shunned and how certain races and species are looked upon, but these themes are never fully explored. The user interface needs improvement for better friendliness; it’s quite confusing at first because everything is scattered and not organized well.

Early Acces With Flaws

New Arc Line has a lot of potential and big ideas, even though it has some problems. The world and main gameplay are interesting, but the writing and technical quality need work. The game has issues with weak characters, simple combat, and some technical glitches. If the developers improve these parts, it could be a great CRPG. Right now, it provides an interesting but unfinished experience, best for players who can ignore its rough spots while it’s in Early Access.

Review copy provided by the publisher

3.3

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