Lioncache 最近的评测

In a stunning move (as of writing), this game does not allow you to rebind movement keys. You're stuck on WASD, so if you're left-handed this game is an active pain to play comfortably.

Actually mindblowing to release in 2026 without some of the most basic expected input functionality. One can only imagine how this went through a QA pass and this was either not brought up at all, or deemed an acceptable lack of functionality.

A very well-executed, short platformer through a subterranean megastructure where the chief means of vertical movement available to you is pole vaulting. Along the way you meet some other inhabitants and aid them with restoring functionality to various areas and discovering tidbits about the past, while accomplishing your own goal of escaping. I like how all of the automatons are just hanging around and helping each other out despite their circumstances.

It's a bittersweet game, but I really enjoyed my time with this, many of which overlap with the same reason I enjoyed a large part of Lorn's Lure in that it does a very good job of capturing the beauty of decay and the overall impermanence of construction. There's a lot of gorgeous views in the game and it's both a pro and con that images can't be embedded in reviews, because I'd be able to show you some of these locations, but that would also inherently take away from the game itself.

If you like venturing around the unknown, you can't go wrong with this game.

I'll admit it, Slavic folk tales and anything around that periphery are completely unknown to me as a Canadian. But I will say that if there was any game that would introduce any particular tale to me, I'm glad it was this one. This is a really solidly built game, both as far as aesthetics and tone go, to the other aspects beyond that. The only real nitpick would be the stutters when activating loading zones.

One thing I really liked about this game, as far as secondary bits go, is the collecting of various other myths into a world book. It's legitimately really cool seeing stories from all over the place with a common theme being told in different ways. It gives this neat sense of unity as far as storytelling goes and makes me wonder just how many of these stories were passed along by word of mouth.

As a note of caution to people that are particular picky about gameplay elements, this game follows more along the lines of a walking sim/exploration game, so if your brain is fried and *needs* high impact interaction all the time, this may not be the game for you. However, I would still urge you to give it a try if it looks interesting to you.

Just really solid work; great job!

Initially when this game was announced, I was pretty excited. I'd been following lvl374 on Twitter for quite some time, so a full game with their approach to art in it? hell yeah! and I have to say that it didn't disappoint at all. I was taking screenshots throughout the entire playthrough, which is something I don't really do that often.

It's really hard to write a review talking about the visuals without the ability to embed video snippets, since a lot of the very cool transitions and mind-bending shifts happen in motion (duh), so I'll keep it very short. I genuinely have never found mastery of basic geometric forms more beautiful in my entire life. If you want a walking sim that doubles as an art gallery and the preview on this page even remotely interests you, you would be doing yourself a tremendous disservice if you didn't play this. It's really worth it, especially once you get to the latter half of the game.

A game with pure soul and gas in the tank. Y2ROLL, while not frenetic in the same vein as Monkey Ball, has it's own fun identity. This is good. If I wanted to play Monkey Ball, then I'd just go play that. Y2ROLL manages to have a slightly slower paced, more strategic approach to levels. Don't get me wrong, you can absolutely go full tilt in many levels and for time attacking and still have it work, but the focus on many levels is mastery of fine movement.

Music in the game is top notch and full of high energy atmospheric drum & bass that never overstays its welcome. Visuals are also pretty great, though I'd understand some finding it a little "filter" heavy.

After getting to and completing most of the final world in Campaign mode, my only real criticism would be in regards to gem collection. A few levels have gems laid out in a square pattern right at the beginning of some levels (e.g. Pipe Nightmare), where the level is designed around more precise movement, and so there's the usual acclimatizing that happens. You end up in a situation where you're continually picking up gems at the beginning of the level via retries that don't really require much skill to pick up, you literally just move in a square motion and that's it. I feel this sort of thing detracts from the meat of the level by wasting your time making you move around the spawn location. It's making the actual challenge an immediate afterthought in terms of placement. I would have preferred if those gems were instead distributed more throughout the level, in a way that gives you opportunities to work them into your movement improvements as you gain mastery over the level instead of essentially functioning as a way to waste 1 or 2 seconds for 'free' at the very start of a level.

That criticism aside though, I want to be very clear and say that I really, really like this game regardless. If you want a nice marble roller with a lot of style to it, you really can't go wrong.

An aesthetic that unfortunately undermines itself in pursuit of being original. It's genuinely sad to have found out that AI was involved in the creation of this after the fact when there's so much royalty free art available, especially on archive.org and other easily accessible sources, that could have probably been leveraged instead to actually give it a full-blown authentic collage feel. Finding out it's just another by-the-numbers phoned in kind of deal is a real downer.

Using AI is, definitively, not punk.

I really dig the environment and atmosphere in this. I can't exactly give a comprehensive review, of course; however the ending of the demo did have me wanting for more, so it certainly did what it set out to do very well.

While my initial thoughts are that this won't hold up to Lorn's Lure as far as movement goes, this definitely does lean into a more mysterious sort of inclination. Either way, I'll end up getting the full game when it releases to give it a try.

Seems like a really promising project so far. It definitely has the juice of classic dungeon exploration from games like MM and OoT, with probably only a little bit of more refinement here and there. Of note, I think the 'discovery' chime such as when the weeds appear after shooting the butterflies needs a little bit of a rework, it just didn't sound very good at conveying a sense of "aha!" or whatever, but tended to sound more like something you'd find someone using to make an eerie tension-builder instead, which came across a little odd.

Either way though, like I said, the work done so far is very well done and full of potential.

Legitimately one of the best games I've played this year. Given it's only May, that might not seem like a crazy sense of applause, but I was into it. It brings back how I felt playing NaissancE, Lorn's Lure, and other games of the sort. The provocation of thought and environmental storytelling. Why are we here? What's the purpose of the structure beyond general habitation? Why was it created in the first place? Just how big are we talking when it comes to scale?

While Metal Garden doesn't *necessarily* answer all of these in an in depth manner (it answers crucial ones, however), it does give you enough context and information to perhaps make your own conclusions and have a little bit of your own spin on theorizing how some of these concepts and ideas actualized into being. This comes across (probably) like some meandering set of words, I'm going to make it very clear: I loved the game despite its flaws

It's oppressive, desolate, bleak as hell, and isolating. Any kind of civilization you would have otherwise come across is simply abandoned and lost to the turning cogs of time. Any individuals you come across are either hostile or already dead, or in the process of getting there, leaving much to speculate about why the aggression exists. And it's not just the hostility, the population in general is sparse. Any group of individuals you come across are usually in ragtag groups in makeshift outposts built out of whatever could be found. Any sense of home and comfort just doesn't exist at all. It's beautiful.

There's a sense of beauty in the idea of decay. A body (general) that people operate within, whether that be a town, a city, whatever, is, not *just* a structure for material use, but also a reservoir of memories. Memories that translate in a lossy manner, but still memories nonetheless. People lived in places like these, died in them, fell in love in them, had arguments in them, built families in them. Then, in the end, all that's left is a monument for this grand participation in the human condition. It's a sort of bittersweet sense of sentimentality for the loss of what once was, but decay is beautiful precisely because it provokes these sort of feelings if you dwell on it long enough. Even something as basic as a dilapidated factory manages to evoke this. Something that's total rot now was once a core place for people to make a living in the pursuit of a better life.

While the game isn't long enough to necessarily run the full gamut of emotions on this front, it does poke at it a little bit. Especially with the broken roadways that ostensibly sprawl out to other settlements.

The only thing I'd really remotely comment on with any sort of negativity, despite how little that would be in practice is that the enemy AI was kind of... meh. But also at the same time, the game *isn't* trying to be that complex. It's fundamentally trying to tell a story steeped in exploration and mystery, not a ballistic, reckless, off the walls shooter. So at the same time, I get it.

Regardless, it scratched an itch for a particular kind of exploration that a lot of games very rarely do, and I look forward to any other games that Alexandra decides to develop in the future.

I would die for Victoria and Iris