From terraforming entire planets in virtual reality to controlling an unusual alien creature and revisiting a forgotten 16-bit motocross racer, this latest roundup covers three games that offer very different experiences. Terry’s Terraforming brings an appealing mix of hands-on VR gameplay and unexpectedly thoughtful storytelling, while Omni Growth experiments with an unconventional movement system that gives its short platforming adventure a distinctive twist. Moto X, meanwhile, offers a glimpse into gaming history with the belated release of a long-lost SNES game, although its age shows in more ways than one. Whether you’re looking for something unusual, a brief arcade distraction or a little retro nostalgia, there’s plenty of variety to explore in this selection of recent releases.
Terry’s Terraforming review (Quest)
Terry’s Terraforming, published and developed by Really Interactive, puts players to work as a new employee at an intergalactic company specializing in making uninhabitable planets suitable for alien life. Using an assortment of gadgets, you’ll adjust temperatures, create oceans, grow forests, reshape landscapes and generally tinker with entire ecosystems to satisfy the needs of your extraterrestrial clients. The premise is immediately appealing, particularly because every species has different requirements, giving each assignment its own objectives. What initially feels like a charming, relatively carefree job simulator gradually develops into something more substantial, however. Behind the company’s cheerful exterior lies a rather uncomfortable corporate agenda, with a surprisingly thoughtful narrative exploring environmental responsibility, corporate greed and the question of who deserves a place to call home. Its combination of humor and more serious themes works particularly well, even if some character interactions take a little time to make an impression.
The actual terraforming is where the game makes its strongest impression. Working with miniature planets in front of you, you’ll use a collection of fifteen tools to manipulate practically every aspect of their environments. You can plant trees, start forest fires, carve rivers, freeze landscapes or even launch asteroids to flatten mountains. Watching these actions transform an entire planet is genuinely satisfying, and the physical interactions make excellent use of VR. A helpful display indicates the conditions you’re trying to achieve, while a companion robot provides instructions and guidance throughout the assignments. New tools gradually expand your possibilities, although the apparent freedom to experiment doesn’t always translate into equally flexible gameplay. Objectives can be surprisingly restrictive, with certain solutions feeling almost mandatory, while the scoring system can be unforgiving when you make mistakes. This takes some of the fun out of experimenting, especially when a seemingly minor error can undo considerable progress. The assignments can also become repetitive, and the underlying mechanics don’t always offer as much depth as the concept initially promises.
Controls are generally well suited to the experience, with the various gadgets offering tactile interactions that make manipulating entire worlds feel intuitive. Touch controllers are particularly effective, with their haptic feedback adding another layer to the physical experience, although hand tracking is also supported. Movement relies on teleportation rather than smooth locomotion, making the game accessible to a broad range of VR players, and it can be enjoyed either seated or standing. Beyond the main terraforming activities, there’s also an opportunity to visit the planets themselves, where players can explore their newly created environments and take photographs. It’s a nice addition that provides a different perspective on the consequences of your work, but it feels somewhat underdeveloped and doesn’t offer enough activities to remain particularly interesting for long. Visually, the presentation is pleasant, with appealing little planets, colorful environments and charming character designs, although it doesn’t always stand out technically. The audio is a stronger element, combining entertaining character performances with an atmospheric electronic soundtrack that complements the feeling of working in space.
Terry’s Terraforming is at its best when it combines the simple pleasure of physically reshaping miniature worlds with its unexpectedly meaningful narrative. The quirky characters and amusing workplace interactions provide plenty of charm, while the gradual shift towards more serious subject matter gives the experience a purpose beyond completing one planetary assignment after another. Nevertheless, the restrictive objectives, occasionally frustrating scoring and limited variety prevent the gameplay from reaching the same heights as its premise. There’s also room for improvement in the additional exploration activities. Despite these shortcomings, Really Interactive has created an enjoyable and distinctive VR experience that offers something a little different from the usual job simulator. Players looking for a relaxing sandbox with a surprisingly thoughtful story will find plenty to appreciate, even if the actual terraforming could have benefited from a little more freedom.
Omni Growth review (PS5)
Published by Brainium Games and developed by HugePixel, Omni Growth is a quirky 2D action platformer with a rather unusual protagonist. After humans invade a massive spacecraft and nearly wipe out its native arachnid population, one small creature is left to carry on the species. Players take control of this survivor, hunting down the invaders and other space creatures while consuming their prey to grow stronger. It is a fairly straightforward revenge story, serving mainly as an excuse for the unusual gameplay rather than offering much in the way of narrative depth. Still, the idea of playing as an evolving alien predator gives the game a distinctive identity.
The biggest attraction is undoubtedly its movement system. Rather than simply walking and jumping, the creature uses four independently controlled tentacles to attach itself to surfaces and pull its body around. The physics-based movement takes a little getting used to, as players need to consider how each tentacle affects their momentum and direction. However, once the mechanics click, navigating the compact levels becomes surprisingly enjoyable. There is a satisfying sense of control in swinging, pulling and launching the creature across the screen. Each stage requires players to eliminate the enemies before reaching the exit, while also eating smaller creatures to maintain their growth. Taking too much damage can be fatal, and running out of stamina temporarily leaves the protagonist vulnerable. Reaching maximum growth also unlocks an acid projectile, adding another option for dealing with enemies.
The controls are initially a little unconventional, but the simple aiming and tentacle-launching setup eventually becomes intuitive. Learning how to distribute the creature’s weight and use momentum effectively is much more interesting than conventional platforming, although the novelty does have its limits. Most levels are over fairly quickly, and the overall campaign is remarkably short, with all 42 stages taking roughly 40 to 45 minutes to complete. The forgiving structure helps keep frustration down, as failed attempts do not result in substantial progress being lost. Regular enemies are generally easy to deal with, although the occasional boss encounter introduces more demanding patterns and requires a little additional patience. Unfortunately, the straightforward level design and limited variety mean there isn’t quite enough here to sustain interest for very long.
Omni Growth is therefore best approached as a brief, inexpensive arcade diversion rather than a substantial platforming adventure. Its unusual locomotion system provides a welcome change of pace and makes the moment-to-moment gameplay more entertaining than its simple premise and repetitive objectives might suggest. However, the short runtime also means that its central mechanic has relatively little room to develop, while the overall presentation does not appear to offer much beyond the basic requirements of the genre. There is a fun little game here, but its appeal is likely to be just as fleeting as its campaign.
Moto X review (PS5)
Originally developed by Software Creations in 1994, Moto X is something of a curiosity: a completed SNES game that never made it to store shelves after its original publisher abandoned the project. More than three decades later, Ratalaika Games brings this forgotten motocross racer to PS5, offering players an opportunity to experience a little piece of gaming history. Its approach is reminiscent of Excitebike, with side-scrolling races, colorful cartoon characters and plenty of obstacles to navigate. There are three engine classes to tackle, each with five tracks and a bonus stage, providing a reasonable amount of content for such a small release. Unfortunately, the unusual selection of racers, ranging from babies to rather peculiar adult characters, doesn’t add much personality, as they are essentially identical apart from their colors.
The racing itself revolves around finding the right balance between acceleration, boosting and controlling your bike in mid-air. Players must switch lanes to avoid obstacles, collect power-ups and time their jumps carefully, as landing incorrectly results in a crash and a considerable loss of time. There are also offensive items, including guns and smoke screens, alongside the ability to kick rival racers. Unfortunately, the AI opponents can be remarkably unforgiving, making it difficult to recover from even relatively minor mistakes. A missed boost or poorly executed jump can quickly send players tumbling down the rankings, while the available weapons don’t always provide enough of an advantage to compensate. Getting accustomed to the mechanics takes some practice, but the occasionally awkward perspective and punishing track design can make that learning process more frustrating than rewarding.
On the positive side, the controls are responsive enough for the quick reactions required during races, and the colorful 16-bit visuals retain some of the charm associated with the era. The different environments offer a little visual variety, although the presentation is understandably dated, even by retro gaming standards. The soundtrack is fairly energetic, but the music sometimes gets drowned out by the repetitive voice samples accompanying the action. The PS5 release does benefit from Ratalaika’s familiar collection of additional features, including save states, rewind functionality, screen filters and display options. These are welcome additions, particularly when dealing with the game’s unforgiving jumps and difficulty spikes, although they cannot entirely compensate for the underlying design limitations.
Moto X also includes local split-screen multiplayer for two players, which provides a welcome alternative to competing against the rather relentless computer-controlled opponents. Nevertheless, the relatively short races, limited track selection and lack of meaningful progression mean there’s little incentive to keep returning once the three difficulty levels have been completed. Its historical significance is arguably more interesting than the actual experience, and while it’s certainly nice to see another lost 16-bit game finally receive an official release, that doesn’t automatically make it a hidden classic. Moto X offers a brief dose of old-fashioned arcade racing, but its rough edges and limited longevity make it more of a curiosity for retro enthusiasts than an essential purchase.