In our latest look at the indie scene, we check out Dustwind: Resistance, Death Kid and There’s a Gun in the Office.
Dustwind: Resistance review (PS5)
Dustwind: Resistance brings back the dusty brutality of post-apocalyptic tactical combat with a tighter focus than its predecessor, offering a single-player campaign that’s modest in scope but rewarding for fans of the genre. Playing as Jake – a farmer turned resistance fighter – you lead a ragtag squad (which includes your trusty dog Diesel) through missions that mix real-time strategy with pause-and-command tactics. There’s a gritty charm to its premise, and while the story won’t win awards, it’s engaging enough to pull you through its wasteland scenarios.
The gameplay shines in its flexibility: you can go loud with explosives or silent with stealthy takedowns, and the real-time-with-pause mechanic gives you plenty of room to plan and improvise. Environmental traps, deployable turrets, and a wide variety of weapons provide a solid tactical sandbox, though some of the balance issues of the first game remain – enemies can feel overly spongey and some mission objectives verge on repetition. The control scheme works reasonably well on PS5, though the interface sometimes feels like a carryover from the game’s PC roots.
Visually, the game captures a solid post-apocalyptic tone, with gritty environments that sell the world’s decay. It won’t blow anyone away in terms of graphical fidelity, but its hand-crafted map variety and ambient audio do a lot to support the atmosphere. The UI has seen improvements since the original Dustwind, and although there’s still the occasional hiccup in responsiveness or clunky menu design, the overall experience is much smoother than before.
Dustwind: Resistance doesn’t reinvent the wheel, but it doesn’t have to. It’s a scrappy, earnest game that rewards patient tactics and offers enough gameplay depth to keep genre fans invested. For players looking for a budget-friendly alternative to games like Wasteland or Shadow Tactics, this dusty battle for survival might just be worth the fight.
Death Kid review (PS5)
Death Kid carves out a distinct identity in the crowded arena-brawler genre by merging a gothic aesthetic with fast-paced, skill-driven combat. As the titular Death Kid, players descend into a pit filled with cursed souls and ravenous creatures, defending three vulnerable spirits while gradually mastering new powers and strategies. The premise leans into its morbid flair without being overbearing, presenting a looping challenge that’s as much about precision as it is about persistence.
The core gameplay borrows from bullet hell sensibilities, challenging you to stay mobile while managing waves of enemies converging from all directions. The arena-style layout demands constant awareness, and while early runs may feel overwhelming, repeated playthroughs unlock deeper abilities through the “Book of the Dead,” adding welcome meta-progression that helps balance difficulty over time. Controls are responsive, particularly on the PS5’s DualSense, where tight analog inputs and satisfying feedback make evasive maneuvers and strikes feel impactful.
Visually, the game’s stylized pixel art blends charm with menace, suiting the death-themed lore well. While its environments are minimal, the character animations and attack effects shine, lending clarity to the chaos. Audio is similarly strong, with a grim but energetic soundtrack pushing the pace and atmospheric effects underscoring the lurking dread just outside your immediate view.
Still, Death Kid isn’t without its limitations. Some may find its enemy variety lacking over extended sessions, and the repetitiveness of its structure – although expected in a roguelite -can set in if progression stalls. But for fans of challenging arcade-style action with a hint of narrative intrigue, this one punches nicely above its weight.
There’s a Gun In The Office review (PS5)
There’s a Gun in the Office blends psychological horror and stealth puzzling in a smart, understated package that rewards patience and curiosity. Set over the course of five in-game days, your goal is to explore and escape captivity without alerting your captors – a premise that immediately creates a strong sense of urgency and dread. Every move outside your room must be carefully undone before the day ends, building a gameplay loop that’s both methodical and nerve-wracking.
Through its visuals, the game creates a thick atmosphere through silence, shadows, and environmental storytelling. The audio is minimal but effective, and the graphics enhance the tension by making players second-guess what they’re seeing. The experience feels like a dream you can’t quite wake up from, and that ambiguity works in the game’s favor.
Gameplay-wise, puzzles are relatively simple but feel meaningful thanks to the ever-present time pressure and the threat of failure. However, this structure can lead to frustration if you overlook a small detail and lose progress. The lack of hand-holding won’t be for everyone, but it’s also what makes solving its challenges feel so satisfying – though you figure out what to do the game is almost painfully brief.
Short but memorable, There’s a Gun in the Office proves that horror games don’t need monsters to be frightening. With its clever structure, eerie mood, and minimalistic design, it’s a great fit for players who enjoy quiet, cerebral tension over jump scares and spectacle.
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