Indie games do not need enormous budgets or sprawling worlds to offer something memorable, as this latest selection of reviews makes clear. From the grimy, hazard-filled Sokoban puzzles of Hazard Pay and the retro spy action of 1964: Operation Velvet Twins to the compact strategic battles of Order Automatica and the wonderfully ridiculous physics puzzles of Shoe it All!, each takes a familiar idea and gives it its own distinct identity. Not all of them reach the same heights, and some are held back by limited variety or modest scope, but there is plenty of creativity on display across these four releases.
Hazard Pay review (PS5)
Hazard Pay takes the familiar Sokoban formula and gives it a decidedly unpleasant occupation. Developed by Smitner Studio and published by Numskull Games, this PS5 puzzler puts the player in the role of a cleanup operative working for the mysterious IPT, sent into contaminated facilities to remove evidence and deal with whatever went wrong there. It is an effective setup because the game does not make the protagonist a traditional hero: the work is clinical, often gruesome, and occasionally puts people in situations where following orders is morally questionable. The story is mostly delivered through the environments and radio communications, creating an intriguing sense that there is something larger behind these assignments, although the narrative ultimately does not develop quite as deeply as its premise suggests. The dystopian Cold War atmosphere nevertheless gives the otherwise abstract puzzle structure a welcome identity.
The puzzles are where Hazard Pay is at its best. Each compact, grid-based level asks the player to push objects into position while dealing with hazards and environmental interactions, with seemingly harmless actions potentially creating new problems. Walking through blood can leave a trail that then needs to be cleaned up, toxic containers have to be handled correctly, and electricity, acid and other dangers can turn a small mistake into an instant death. This makes the levels more than straightforward box-pushing exercises, as the player needs to understand how the entire environment fits together before committing to a solution. There is a genuine sense of satisfaction when a seemingly impossible arrangement suddenly makes sense, but the difficulty can also be unforgiving, with some puzzles feeling challenging before the game has properly established all of its ideas. The absence of a hint system will not bother experienced puzzle players, but newcomers may find the occasional difficulty spike rather harsh.
The move-by-move controls are suitably simple on PS5, using the directional inputs to navigate the grid, but precision is essential because every step matters. That makes the rewind and reset options particularly valuable, allowing mistakes to be undone without forcing an entire level restart. Even so, the underlying movement can occasionally feel unforgiving when an input results in a step that was not intended, and the lack of a more forgiving safety net means some failures feel more irritating than enlightening. The step counter also gives completed levels another purpose: finding a solution is only part of the challenge when players can return to optimise their routes and compete on leaderboards. This works particularly well for a game whose puzzles can linger in the mind after completion, although the overall progression does not always introduce enough genuinely new ideas to prevent the later stages from feeling like increasingly complicated variations on the same formula.
Visually, Hazard Pay makes good use of pixel art to establish its grimy laboratories, strange creatures and contaminated environments, while different visual options give the presentation some flexibility. The art has enough character to make the world memorable, although many locations remain primarily functional puzzle spaces rather than places that significantly expand the narrative. The audio is more successful at sustaining the game’s identity, with a restrained, mysterious soundtrack that reinforces the feeling of isolation and unease. There is some repetition in the sound design, particularly in the protagonist’s reactions, and the music could benefit from greater variety, but the overall atmosphere suits the material well. Hazard Pay therefore works best when approached as a demanding Sokoban game with an unusually dark coat of paint: its clever environmental puzzles and unsettling premise make it easy to recommend to players who enjoy having their brains thoroughly exercised, even if its story, progression and variety do not quite live up to the potential of its intriguing setup.
1964: Operation Velvet Twins review (PS5)
1964: Operation Velvet Twins is another retro-styled action game from SEEP, this time looking back to the beat ’em ups and action-platformers of the 8-bit era while dressing the adventure in a pulpy 1960s spy setting. Secret agent Mike Rogers is sent after the mysterious Velvet Twins, travelling through locations ranging from neon-soaked streets to factories and other suitably eccentric environments. The deliberately simple story does its job without getting in the way, with character introductions and short storyboards adding some personality to what is otherwise a straightforward excuse for punching, shooting and surviving. The B-movie tone fits the presentation well, although anyone expecting a substantial narrative will find little here beyond its entertaining retro framing.
The gameplay combines close-quarters punching with a selection of weapons and environmental hazards, and this works best when the different elements are forced to complement one another. Enemies have recognisable attack patterns, while traps such as blades, fire, lightning and moving machinery make positioning just as important as dealing damage. The machine gun is particularly effective for clearing groups, but its restrictions prevent it from completely trivialising encounters. There is a satisfying rhythm to learning how enemies and hazards behave, although the combat can sometimes feel slower and less impactful than the games it emulates. Enemies can take several hits and the generous hit detection can make some encounters feel more mechanical than skillful.
The controls are straightforward and generally well suited to the uncomplicated design, with movement, punching and weapon use requiring little time to master. Platforming and obstacle sections provide some welcome variation between fights, while the checkpoint system avoids turning mistakes into overly punishing restarts by mainly costing points. That accessibility does come with a downside, however: the relatively forgiving difficulty and bosses that can sometimes be overcome simply by trading hits mean that experienced beat ’em up players may finish the campaign sooner than they would like. The seven stages offer a reasonable amount of variety, but the short overall runtime remains one of the game’s biggest limitations.
Visually, 1964: Operation Velvet Twins makes a convincing attempt to recreate an 8-bit aesthetic without simply looking like an old game, with colorful characters, distinct environments and suitably exaggerated bosses giving the adventure plenty of personality. The 1960s theme also helps it establish an identity beyond being another generic retro beat ’em up. The music complements that approach nicely and reinforces the period-inspired arcade atmosphere. There are some rough edges in the presentation, and the visual design does not always feel as cohesive as the best examples of the genre, but the overall package has charm. 1964: Operation Velvet Twins ultimately succeeds as a compact, accessible retro romp with enjoyable combat, varied hazards and some memorable boss encounters, even if its modest length and relatively gentle challenge prevent it from reaching the heights of SEEP’s strongest work.
Order Automatica review (PS5)
Order Automatica takes the familiar auto-battler formula and squeezes it onto a remarkably small 3×3 grid, creating a strategy game where almost every decision has immediate consequences. Developed by New Beings and published by better. publishing, its dark occult setting gives the otherwise abstract tactical battles plenty of personality. There is even a modest narrative thread involving a mysterious cult and the player’s progression through its ranks, with additional lore gradually filling in the blanks. It is hardly the main attraction, but the unsettling atmosphere gives the constant ritualistic battles a little more purpose than simply chasing another high score.
The real strength lies in how much tactical depth can be packed into those nine spaces. Units have different abilities and attack timings, positioning affects how those abilities interact, and lining up three matching units can merge them into a significantly stronger version. Relics and other items add another layer, while blessings and increasingly troublesome curses force adjustments when a promising build starts to fall apart. Seeing the opposing setup before committing to a battle is particularly useful, as it turns preparation into a genuine exercise in anticipation rather than blind trial and error. There is still a considerable amount of randomness involved, and some later difficulty modifiers can feel more irritating than challenging, but discovering a combination that suddenly makes a run snowball is immensely satisfying.
The automated combat is deliberately hands-off, so this is very much a game about making the right decisions before the fighting begins rather than controlling units once the action starts. That won’t appeal to players looking for direct tactical input, but the ability to watch battles step-by-step, speed them up or let them play automatically makes it easy to see why a strategy succeeded or failed. On PS5, the controls suit this approach well, with the relatively simple interface keeping the focus on board placement, purchases and build management rather than unnecessary button inputs. The roguelite progression and unlocks provide reasons to return, although the relatively compact structure means that its long-term appeal depends heavily on how much enjoyment is found in experimenting with different builds.
Visually, Order Automatica is considerably more distinctive than its compact scope might suggest. The pixel art has a suitably grim occult flavour, with expressive creatures, detailed backgrounds and colorful effects giving the otherwise static preparation screens plenty of character. The visual presentation also makes the automated battles enjoyable to watch, which is important in a genre where combat can easily become little more than background number crunching. The soundtrack and overall audio presentation complement that dark atmosphere nicely, although the presentation remains relatively restrained rather than trying to overwhelm the player with spectacle. Order Automatica ultimately succeeds because it understands exactly what its small board can do: it is easy to grasp, surprisingly deep and frequently rewarding, even if the hands-off combat and occasionally frustrating curses will limit its appeal to players outside the auto-battler crowd.
Shoe it All! review (PS5)
There is something inherently amusing about turning the innocent act of kicking off a shoe into a full-blown physics puzzle, and Shoe it All! gets a surprising amount of mileage out of the idea. Developed by Amberbite and published by Bright Gambit, the game puts players in control of Lace, a rebellious teenager who settles disagreements with authority figures by launching footwear from a swing. The deliberately thin narrative is really just an excuse for increasingly absurd situations, and that works in the game’s favor because it never gets in the way of the action. What starts with straightforward targets soon develops into elaborate sequences involving characters, environmental objects and increasingly ridiculous scenarios. There is not much depth to the premise or its characters, but the playful attitude gives the whole thing plenty of personality.
The core gameplay is wonderfully straightforward: build momentum on the swing, judge the trajectory and release the shoe at the right moment. The controls are simple enough to understand immediately, yet getting a perfect shot requires considerably more precision than the premise initially suggests. Watching a shoe bounce, ricochet or trigger a chain reaction is often as entertaining as successfully completing a puzzle, while later levels introduce more complicated setups and alternative ways of achieving objectives. The stars, collectibles, secrets and speedrun challenges provide good reasons to revisit stages, particularly for players who enjoy chasing perfection. The problem is that the underlying formula does not evolve dramatically, meaning that the limited number of core mechanics can start to feel repetitive. There is also no multiplayer, which feels like a missed opportunity for something that could have worked particularly well as a competitive party game.
Visually, Shoe it All! has a colorful, hand-drawn comic-book aesthetic that suits its irreverent sense of humor perfectly. The environments are generally simple, but they are packed with interactive elements, and watching them react to a well-placed shoe is where the presentation really comes alive. Characters can be sent flying, objects topple over and successful shots can produce wonderfully exaggerated reactions, giving even a failed attempt a chance to be funny. The punk-inspired soundtrack is similarly well matched to the game’s attitude, providing plenty of energy without becoming an unnecessary distraction, while the exaggerated impact sounds add to the satisfaction of every successful hit. It is not technically ambitious, but the strong visual identity and cohesive audio design make the relatively modest production values feel like a deliberate artistic choice rather than a limitation.
The biggest issue with Shoe it All! is ultimately its size. The main campaign can be completed within a few hours, and once the levels, secrets, stickers and achievements have been exhausted, there is not an enormous amount left to discover. That brevity is easier to accept because the game is inexpensive and designed around short, immediately satisfying challenges, while the pursuit of better scores and completion targets can extend its lifespan considerably. More importantly, Amberbite has found a central mechanic that is both accessible and genuinely enjoyable: throwing shoes at things simply feels good, especially when a carefully calculated shot produces an unexpectedly chaotic result. Shoe it All! is therefore not a particularly deep puzzle game, but it does not need to be. Its combination of precise controls, playful physics, colorful presentation and ridiculous humour makes it an easy game to pick up and difficult to resist while the novelty lasts.