Recent reviews by STNGTE

What you see here is the short version of my article about Audiosurf. Down below the article, there's a free download for you of a little piece of music that I specifically produced for this game, so just download it and play some Audiosurf again!
https://www.videospielgeschichten.de/audiosurf-als-inspirationsquelle-meine-vision-eines-perfekten-musikspiels/

Music games have undergone a remarkable evolution over the past decades, establishing themselves as a fascinating genre. In 1978, the Milton Bradley Company (MB) launched an electronic toy called Simon, which was based solely on color patterns and sounds. This simple concept laid an essential foundation for the rhythmic mechanics that would later appear in video games.

In 2008, a game with a simple yet creative concept was released and quickly gained popularity. It hit just the right "green wave" that could turn an indie game into a timeless classic. Among those who picked up Audiosurf right at launch was a good friend of mine, who played in a punk band and asked me to record their next EP. And every free moment or break, surrounded by beer bottles and musical instruments, was spent playing this game.

I could clearly see why it excited so many players. The game was compatible with almost every music genre, which made it accessible to a broad audience. It combined engaging puzzle mechanics with fast-paced racing elements, and global leaderboards encouraged friendly competition among players. However, what fascinated me the most was the music-based track generation and the visual synchronization.

Music and sound are almost indispensable for video games. They create atmosphere, tell stories, and draw us into the virtual world. Music games have hardly any boundaries or rules, almost anything is possible as long as the focus remains on audio. They offer incredible diversity, combining creative freedom and musical experience in various ways. Whether through colorful platform adventures with electronic beats, rhythm-based first-person shooters with heavy metal sounds, or classic rhythm games in an EDM or K-pop style, each game opens up its own world, brought to life by the power of music.

"We used to look up at the sky and wonder about our place in the stars..." Now, as Mixonauts, we shape the universe with sound and wonder about our place in the melody. (Sorry, couldn’t resist).

At first glance, I was a bit skeptical, especially since once again you have to set everything in the graphics options to the lowest level to prevent your computer from launching into space. So, I put Mix Universe aside for a while. Now, I find myself genuinely surprised in a positive way, and even a little impressed, although there are still some aspects that could be improved. But overall, it’s pretty well done.

As a Mixonaut you dive into an interactive world that evolves with every added note or action, allowing you to create sonic landscapes using various instruments and effects. The controls, apart from a few exceptions, are relatively smooth and intuitive, sounds can be easily placed, effects precisely applied, and thanks to real-time audio spectral analysis powered by the Unreal Engine, every musical decision becomes a visual experience.

The tutorial voice thing is up for debate, can't say I’m a fan of it. It just sounds too monotonous and unnatural, lacking charm and it's just not very cool. Chris Zukowski, if you’re reading this, I added you because I wanted to suggest an idea and tell you about a few female YouTube music producers, some of whom I personally know. They have great voices and a charismatic speaking style, something like that would be absolutely perfect for this. But of course in the end, it’s entirely up to you. I can only say that I wouldn’t leave it as it is.

Even though it’s not a big issue for me, the unclear naming of sounds (Lead 01, Lead 02...) could be reconsidered as well.
In general a bit more variety in instrument selection wouldn’t hurt either. Effects like Reverb, Delay or Bit Crusher are cool, but perhaps it would be worth thinking about adding Glitch/Stutter and Spectral effects as well.
And an audio export function would be awesome, then Mix Universe could be used for jamming and inspiration, while also allowing users to create full songs without having to sample OBS recordings or extract audio from it.
Even a musical sandbox can have an export function. In the end, such a feature keeps certain players engaged and prevents them from uninstalling it after a few weeks to go back to working in their DAW and playing with other toys.

Nevertheless, Mix Universe is an extremely creative music sandbox game with a lot of potential. It focuses less on traditional music production and more on players who enjoy freely experimenting with sounds and experiencing them visually. If some of the mentioned aspects are improved, it could even become a hidden gem and that’s exactly what I wish for the game.

VZX Player is a free music visualizer that reacts to audio sources in real time. It is very easy to use, offers some nice visual effects, and provides customization options while maintaining low system requirements.
It is ideal for streamers, DJs, and music lovers looking for a simple and visually appealing solution.
I already got the Networks DLC and don’t regret it. Now I’m even considering getting more DLCs and maybe even VZX Creative, but we’ll see. I’m definitely very satisfied.

The Rytmik series, including Rytmik Studio, is a music production software aimed particularly at hobby producers and beginners. It seeks to offer an intuitive interface and simple ways to create music, but unfortunately, it only partially succeeds in this and has quite some weaknesses that limit it compared to professional Digital Audio Workstations like Ableton Live, Bitwig or Logic. So, if you want to start making music/beats, I would rather suggest starting somewhere else.
A tip from me: get AKAI MPC Beats instead, this software is free and much more intuitive. There are also other free DAWs and ways to get Lite versions, all of which are better and therefore more advisable than Rytmik.

I will mention a few more points of criticism in a moment, but first I want to say that some time ago, I contacted the developer and asked whether there was a discount or sponsorship available for organizations. After a certain amount of time, I received a brief and rather cold response, asking me to send links to the organizations. I thanked them for their reply, wrote a few lines of information, and included the links. However, I never received another response, which is usually warning enough for me and definitely a lousy way to handle things. If you’re unable or unwilling to be socially engaged, that’s fine - but at the very least, honest communication should be expected.

At that time, we had just started offering workshops on video game music and two participants wanted to work with Rytmik for what ever reason. So, I purchased a bundle with my own money and now, after all this time, here is the summary: none of the participants found working with Rytmik particularly exciting or fun, it was considered just okay.
I personally find the price-performance ratio not very convincing. There is too much stuff and too many similar Rytmik versions, all of which are overpriced. And, those looking for customizable sounds will be disappointed.
Additionally, it has limited export options and sound optimization, a lack of further development and an unappealing UI.

It was a close call, but I can recommend Rytmik Studio to those who can wait for a sale, want to experiment or compare a bit, appreciate software that runs smoothly on Steam and are looking for community support, though I haven’t tested that myself and can only assume it’s probably okay. Well, it seems like it.
Anyone expecting more control, flexibility and professional features, will quickly reach the software’s limits.
This tool is suitable for very simple compositions and first steps, but for serious music production,
there are better and more powerful alternatives, which you should rather prefer ; )

In 3 Words?

Broken Abandoned Radio

I have to say, it's just okay. But since the base game is free, it's worth checking out. Personally, I lost interest after about 30 minutes. The controller works fairly well, but in level 26 (I think it was), I had to jump over a lot of glass surfaces and that was the final straw. The levels before that were simple to mildly challenging, which I would have preferred throughout.
Also, every time I start the game, there's a brief loud sound, which is quite unpleasant. AND it's a shame that I'm hearing the same (apparently royalty-free) LoFi music again. There's nothing wrong with a minimal, charming Monkey Ball-inspired game with LoFi music, but whether this one truly delivers on that is another question.

I strongly advise against blindly purchasing the DLCs - try the game first and see how it feels for you.

Sometimes, it’s not the grand sagas but the quiet, introspective stories that touch us the deepest. A Hint of Purple is exactly that kind of experience, a free visual novel that explores not only art and love but also loss, identity, and the acceptance of a new self, and as a reflection on how we define ourselves, how we navigate change, and how love must adapt when life takes unexpected turns. What makes it special is the way it plays with inner monologues. Maya's conversations with her prefrontal cortex are not just a creative narrative device but also a deep exploration of self-doubt, hope, and the search for meaning. It’s almost like witnessing an internal struggle, one that we all in some way recognize. Sharp dialogue, sometimes witty, sometimes raw and unfiltered, sometimes humorous, sometimes painfully honest, and that’s precisely what makes it so real. All of this contributes to an experience that lingers, much like a painting whose full meaning only reveals itself over time.

In my review of Unheard (The base game) I had written:
"I'm not an achievement hunter, and it seems that the game can only be completed 100% with an additional DLC.
I don't understand why some developers keep doing something like this, keep things simple and ensure that all achievements remain part of the main game!"

I said this because sometimes there are games that generate additional achievements with paid DLCs, and in this case, it is not clearly visible what the situation is. I had read somewhere in the reviews that the DLC with the two extra achievements was only available in Chinese. Apparently, seems it was the case at some point, but it is no longer like that. And since this DLC is free, there is actually nothing to complain about. What I want to express however, is that such things can cause unnecessary confusion and should ideally be avoided. That is why I still stand by my statement, Achievements should always belong to the base game and not necessarily be added by more stuff later.

It could be that NEXT Studios encountered issues during the production phase; otherwise, I fail to understand why this irritation persists. According to Steam, the base game was released on March 29, 2019. Then, on June 14, 2019, the DLC The Lethal Script was released, followed by another DLC on August 15, 2019, which was only available in Chinese, as well as one on January 16, 2020. Why wasn't this all simply made into one game with an emphasis on offering English for all parts? I'm just saying...

The Lethal Script offers another interesting case that could keep you engaged for about 1 to 2 hours. Essentially, you're doing the same thing again, but it's still a bit different. I enjoyed it quite a lot. However, I find it very unfortunate that the other two DLCs will probably never be available in an English version. Well no point dwelling on it, on to the next game!

In Unheard, you take on the role of an Acoustic Detective what was the decisive factor for me in wanting to play this game. Instead of using visual clues, you listen to conversations and try to identify connections. The game features five different locations, each with distinct characters who play an important role. Your task is to listen carefully to them. Based on what is said, you must determine their names, their involvement in the case, and whether they are the culprit, victim or what ever. While playing, you have the ability to take notes, rewind or fast-forward, and pause the recording.

There are multiple endings, though they didn't quite impress me, but they're fine. The stories in general, could have had a bit more depth, but overall, they're still enjoyable. The music, sound effects and atmosphere are also okay, and the voice acting is clear and easy to understand. Listening to the dialogues never became boring. Except when replaying it a few times for the different endings. Because of that, I would have preferred more cases with greater depth and a well-thought-out, solid ending, rather than repeatedly going through the same content just to make a different choice at the end. That doesn’t really seem worthwhile.

I'm not an achievement hunter, and it seems that the game can only be completed 100% with an additional DLC.
I don't understand why some developers keep doing something like this, keep things simple and ensure that all achievements remain part of the main game! Speaking of DLCs, at this moment, there appear to be three, but unfortunately, two of them are only available in Chinese, which makes them unplayable for me. I wouldn't mind at all if I could speak or even understand Chinese, but sadly, that's not the case. So, I'll take a look now at the DLC The Lethal Script, at least it's free and available in English.

Unheard is an innovative detective puzzle game that offers an interesting way to pass some time for about 3, 4, or 5 hours. But that’s pretty much it. For the price it’s reasonable, though I’d say the best way to try it out would be during a sale,
just play through one run, pick an ending and that's it, then it's a worthwhile try. Otherwise, some will feel the same as I did and just end up wasting their time, if I had known beforehand, I would have played it once and then moved on to something else.

I have to admit, I'm somewhat disappointed. LoFi Hotel certainly has its charm, and I really do appreciate the look of the characters and in general, but I was very close to giving it a thumbs down. At this point, I can't help but be brutally honest, though in the end, it's just simply feedback and constructive criticism, also a small reflection of my gaming experience.
That being said, there are certain things players should keep in mind before diving in, cause some of the points I am about to mention made me feel relieved when I was finally done with it.

And dear Danton Freitas aka Enchant Games, since we've already spoken before, I want to make it clear that I bear no grudges against you. I will play Roofcats Band at some point, and I’m also looking forward to Zen Rogue Monks. However, there’s one piece of advice I’d like to give you already: anyone who tries to do too much by himself and doesn’t really accept help from others inevitably makes more mistakes - unnecessary mistakes that could have been avoided.
I've been through that myself.

At a certain point while playing, I had to grab a piece of paper to note down all the malfunctions and bugs I noticed.
Since there were quite a lot, I won’t list them all. Instead, I’ll give a few examples and highlight the aspects that genuinely annoyed me. So the music often just stopped playing. Despite multiple clicks, certain mechanics or commands frequently didn’t work. The whole screen/map would sometimes start to flicker. The turtle often got stuck in the map near the islands. A collected song wasn’t playable for quite a while. And occasionally, there were strange sound issues like stuttering and distortions. It might have been worth considering an additional movement speed or a dash for the owl and turtle, as they move quite slowly. While it's not a major issue, but it’s certainly not ideal either. The text windows didn’t appeal to me at all, I actually found them kinda uncomfortable, especially due to the strange spelling and phrasing errors. Unfortunately, the sound design also didn’t resonate with me; it felt a bit uninspired. For example I would have approached the owl’s wing flaps differently to make them sound more authentic. The music was also a bit too repetitive and could have been mixed more precisely, but that's just my opinion.

All the technical issues and malfunctions set aside, as well as questionable decisions, that's one thing but don’t get me wrong, they’re no small matter. But when you add what I’m about to describe, a thumbs-down would definitely be justified. I really wasn’t a fan of being able to move beyond the edge of the screen and behind certain objects, and I spent a long time searching for the last piece of music. Frustrated and unsure of what else to do, I scoured every hidden corner, which became incredibly annoying. I had really hoped that the final music piece wouldn’t be in an invisible area. And what happened in the end? The last music piece was on some island in the top right, completely hidden behind the edge of the screen, things like this should be avoided at all costs in any game.

After the short credits, there was a reference to Discord, and the game either froze or didn’t give me any option to return to the main menu, I have no idea. I forcibly closed the game and thought to myself: really, really unfortunate! What a pity!
So once again Enchant Games: keep going, but please learn from these mistakes. Maybe consider working with a few more people? Perhaps think about bringing in additional Quality Assurance Testers and Sound Designers? Oh and by the way, could you please clarify the age rating for Shy Cats Hidden Orchestra? It’s not a big deal you know, and a friend of mine would really like to play it and currently can't, since it’s no longer available in the store here in Germany due to the lack of an age rating.