Jay Castello

Jay Castello

Jay Castello is a freelance writer, editor, and podcast host based in Sheffield, UK. If they're not down a research rabbit hole you'll probably find them taking bad photographs near a riverbank or old tree, but you can also try Bluesky.

Fields Of Mistria review

Stuck between a rock and a soft place

Fields Of Mistria is a game with almost no friction. When you’re farming crops, your watering can is always full. When you’re catching fish, there’s no minigame but waiting for the bite. If you forage something but don’t have room in your backpack, it will sit where you left it. After not too long, you’ll unlock the lost and found system, meaning on the next Monday it will be whisked away into a big bucket conveniently near your farm for you to collect. 

And, I think because of this, my experience with Mistria is strange. It’s soothing to zone out for an hour and run through several days of wandering around the village and farming, mining, fishing, gifting bits and bobs to NPCs and so on, all working towards new ticks on the game’s absolutely massive checklist. And my checklist is getting full. The museum is overflowing; the mines are reopened down to the depths; my heart levels with the villagers are almost complete. I can’t deny that that feeling of pleasure, while insubstantial, has led to me sinking nearly 70 hours into the game in the last month or so, and I can’t deny enjoying it.

March says, "Have you crafted anything interesting lately?" The player is holding a strawberry over their head.
Like everybody else, I am a March girlie.

But I can say it has also been grating. During the low-tension cycle of the daily tasks, there’s plenty of time for thinking about both the (inherent?) political tensions of the farming simulator and the issues I have with this one in particular (more on both of those later). And yet I keep falling for just one more day. And even when I do decide I want to do something more thoughtful, give me a few hours and I’ll think, damn, breaking a few hundred more rocks with a pickaxe sounds really good right now, actually. 

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The Incident At Galley House review

A rebuilt machine

To investigate the deaths at the Galley house, you'll first have to familiarise yourself with the machine. By inputting a time code, location, and the reference numbers for the people present, you'll be able to view that moment. Or, more accurately, hear it. Although you can occasionally pick out clues from the background art, and assign avatars to the hazy shadows once you've figured out which of the photographs in your inventory they correspond to, it's most important to pay attention to what they're saying. 

The whole mystery unspools in these aural moments: people arguing and suddenly discovering dead bodies, the thunderstorm a constant accompaniment. It's a game that is predominantly a listening experience. Which is why it's surprising that The Incident at Galley House began life as Type Help, a text-based browser game. 

Although the puzzling itself has been expanded, this transformation is predominantly a case study in the power of UI. I found Galley House's story to be solidly "pretty good," but combined with this upgraded presentation - the clunk of the strange machine, the generator flickering out every so often, the voice acting and audio design - I spent plenty of time genuinely creeped out. This isn't something I've experienced while simply reading, but it's also not something I've experienced in any of the other games that Galley House is inspired by, like Return of the Obra Dinn or The Roottrees are Dead.

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