What counts as logic when a puzzle never makes you guess?

A solo developer in Japan on deciding which kinds of reasoning count as “logic”, and why even boards with only one solution could fail that test.

In this Fix Stories contribution, Hidenori Kawamura explains the limits he set while making KEEPYBOO. His account appears below in his own words.

By Hidenori Kawamura, developer of KEEPYBOO (Bit K.K., Japan)

Indie developers, in their own words

Get more Fix Stories, independent games coverage, and developer interviews in your inbox.

Minesweeper has a famous flaw. Sooner or later a board hands you a 50/50, and the win depends on a coin flip rather than on your reasoning.

I’m a solo developer in Japan, and my small logic puzzle, KEEPYBOO, is built around one promise: no board ever asks you to guess. You look for ghosts hidden on a grid. A number inside a cell counts the ghosts in the eight cells around it, as in Minesweeper, and every row and column also shows how many ghosts it holds. All the clues are visible from the start, so there is no first click to survive.

I’m far from the first person to want this. Minesweeper players have made no-guess versions before, and they hold strong opinions about what the term should mean. With good reason: “no guessing” means very little until you say which logic counts.

A 9×9 board partway through (ROUND 0862). The numbers along the top and left edges count the ghosts in each column and row; a number inside a cell counts the ghosts in the eight cells around it. Credit: Bit K.K.

One solution is not enough

Checking that a board has exactly one solution sounds like enough, but it isn’t. Allow “suppose this cell is a ghost, and inside that, suppose that one is too”, and with enough nesting every cell of such a board becomes “provable”. I tried allowing deeper assumptions and dropped the idea: at that depth, “provable” stops meaning anything to a player.

Three kinds of step, and nothing deeper

So I wrote down the kinds of step a careful person takes, and limited my solver to exactly those.

One clue at a time. If a row needs two more ghosts and has exactly two open cells left, both are ghosts. If a clue already has all its ghosts, every other cell around it is empty.

Two clues side by side. Say a column still needs one ghost, and a clue next to it still needs two. They share two open cells, and the clue has only one other open cell. That pair must hold exactly one ghost: no more, because of the column, and no fewer, because the clue can’t find two elsewhere. So the clue’s other cell is a ghost, and the rest of the column is empty. Experienced Minesweeper players do this by eye.

One “what if”. Suppose a cell is a ghost (or that it’s empty) and follow the first two kinds of step. If that leads to a contradiction, the opposite must be true. One assumption at a time; never a what-if inside a what-if.

Of the 2,000 boards in the game, 969 can be solved one clue at a time, 1,031 need two clues side by side at least once, and 293 need a proof by contradiction. Any board that would have needed a guess, or a deeper chain of assumptions, was thrown away.

What I threw away

Every board is made ahead of time. The generator places ghosts and clues at random and keeps a board only if the solver can finish it with those three kinds of step. It also throws a board out if the solver ever disagrees with the stored answer, or if more than three of its clues read 0, which gives too much away for free. A separate audit then replays all 2,000 boards, catching only ghosts provable from what is already confirmed: 2,000 checked, 0 unsolved. Even the oldest 1,000, which came from an earlier browser prototype, had to pass it.

Generating boards on the phone would have been cheap and endless, but I couldn’t have promised “no guessing” for them, so I decided against it.

Since this is a story about proofs, I want to be plain about AI. The boards and their proofs come from deterministic code I wrote. I used AI tools for parts of the code, the art, the sound and the translations, always to my own direction, and kept only what passed my own review.

What the promise changed

The solver’s record of which steps each board needed also gave me a better measure of difficulty than size: a 9×9 can be a warm-up, and a 7×7 can be nasty.

The promise also changed what the game rewards. The Logic Rating, which estimates deduction skill, only counts a first-attempt clear if every ghost was provable when it was caught. A lucky tap counts as a miss, so the rating reflects your reasoning, not your luck. And there’s no time limit: the point of a puzzle you can always reason through is that you get to take your time.

A line, not a law

If one thing here might help other puzzle makers, it’s this: decide which logic counts before promising “no guessing”, and draw the line where “provable” still means something to a player. Mine, one what-if and no deeper, is a choice, not a law. The full method and numbers are at https://keepyboo.com/en/no-guessing, and if you’ve drawn your line somewhere else, I’d genuinely like to compare notes.

And if you’re ever stuck on one of these boards, you’re not missing luck. You’re missing one of those three kinds of step.

If you’d like to try it, the first 50 rounds are a free demo in the browser, with no install and no ads: https://keepyboo.com/play/. The full game is a free app for iOS and Android.

KEEPYBOO

Release: Available now

Genre: Logic / Deduction Puzzle

Developer / Publisher: Bit K.K.

Platforms: iOS / App Store · Android / Google Play · Free browser demo

Related Reading

Fix Stories: One Swift Engine, Two Phones — Stelline

Fix Stories: I Built an iPhone Duo Game Without Owning the Phone

The post Fix Stories: Why I Threw Away Every Board That Needed a Guess appeared first on Fix Gaming Channel.

A First World War Walking Simulator with Heart

Aidan Minter finds an engaging story and memorable characters in The Caribou Trail, although repetition and moments of weak immersion hold it back. For the separate PC perspective, read Ronny Fiksdahl’s review, including 32:9 ultrawide gameplay.

Reviewed on: PlayStation 5 (PS5)

The Caribou Trail is a military themed walking simulator developed by Montreal based indie dev Unreliable Narrators and Manavoid Entertainment, and tells the story of three soldiers serving in the Newfoundland Regiment at the Gallipoli Peninsula during the First World War.

The Caribou Trail — Trailer and Gameplay

Watch the trailer or gameplay video on YouTube

Independent gaming reviews and interviews

Get our reviews, indie game features, and gaming news in your inbox.

You play as Fisher or ‘Fish’ as he’s known by his nickname, one of the 487 survivors of Gallipoli, the brutal World War 1 campaign which saw allied forces (British, French, Australian, New Zealand, and Indian troops) try to force open the Dardanelles strait, capture Constantinople, and knock the Ottoman Empire out of the war. The game starts out with Fish serving in France in 1916 at Beaumont-Hamel, another decisive and controversial battle where roughly ninety percent of the Newfoundland Regiment’s attacking soldiers became casualties in a disastrous and bloody 30-minute assault during the Battle of the Somme.

Narratively, The Caribou Trail pulls you into the story in a way that makes you feel connected to the other characters, in this instance Gordo who used enlistment to avoid criminal charges back home and the fresh faced Lon who Gordo has taken under his wing to guide him through the daily aspects of life in the army. The game does well to sell the camaraderie and jovial relationship between this trio of soldiers, each with their own distinct personalities which, in turn  helps deliver the well written script.

Life on the Frontline

Setting the scene is Suvla bay, a wide bay on the Aegean coast of the Gallipoli peninsula in Turkey and it’s here where the story takes place. The Trail of the Caribou commemorates the Newfoundland Regiment’s costly human contribution during the First World War with six caribou memorials created by London-born sculptor and artist Captain Basil Gotto at different battlefield and memorial sites across Europe.

Let it be said that anyone looking for combat action will be disappointed, The Caribou Trail is a more of a walking simulator and story led game where the player can make choices to specific actions and choose the order of conversation where it applies. If anything it perfectly captures the mundane aspects and boredom of serving soldiers behind the front lines as they live day by day in camp. There are certain missions you undertake within that structure to break the camp monotony, find a crashed pilot in no man's land or retrieve I.D tags from fallen troops. This means that the narrative aspect of the gameplay loop might give you three paths to get to a specific location, you’ll end up at the same spot but the path you took has absolutely no real consequence.

Visually The Caribou Trail is similar to games like The Long Dark or Sea of Thieves and this creates its own charm and helps the game set itself apart. However, this is where I feel the game also fell a little short. The animated look and feel broke some of the immersion, especially during the mission exploring no man’s land for I.D tags from the bodies of fallen allied soldiers. The grim nature of the task felt relatively sanitised and in terms of game design, go to point A, press action button, go to point B, press action button isn’t overly challenging for the player but is very much in the realm of a walking simulator where player participation is more a conduit for the broader story to find its mark.

The Sanitised Horrors of War

The relatively clean look of a shattered battlefield, filled with dead soldiers removes the sense of tension and foreboding one would expect. That’s not to say I expected to be elbow deep in blood and entrails, but for me, when I’m drawn in to the characters so well,  it's moments like this that are visually jarring when they don’t connect or deliver a sense of realism, even in this art style. Additionally, collecting a map from your commanding officer, the one which you’ll use to navigate to different parts of the ridgeline camp is handed over to your character but the officer has nothing in his hand, its smaller details like this that break that connection, it's a small gripe and certainly not a game wrecker but irksome given the power of the PS5.

Repetition and Immersive Storytelling

Various tasks move the story forward, some become a little too repetitious, like cooking tack, the hard dense cracker that was a staple of the allied forces diet, while the fireside banter helps build character I felt I was more focused on seeing how small I could mash the tack in the cooking pot to pay any attention to what people were actually talking about. Again, it's a small gripe but one that comes back to game design. Games like The Caribou Trail are perfectly suited to PC but feel a little wasted on console to an audience that might not appreciate the historical significance and passion behind the project.

I’d like to have had more variation of things to do since its a very short game, in many respects the tasks themselves weren’t the issue, more, how they were delivered, and while walking simulators with a heavy emphasis on story and character don’t usually get very complicated in their gameplay design, variation and a better cohesive connection to the game world would have improved my experience tenfold.

It’s not that The Caribou Trail is a bad game, far from it, it's a very engaging respectful narrative led story set within a defining  moment in military history. The choice led aspects of the larger story beats give the player an attachment to the broader narrative. Smaller more intimate aspects of the setting give a historically valuable insight into life within the Newfoundlander Regiment (Blue putties explained!) during the Ottoman conflict in World War 1.

In Summary

Overall, it’s one of the more interesting walking simulator games you’ll find, certainly up there with the likes of Firewatch and Dear Esther and definitely one if you’re a history buff. You can see that developer Unreliable Narrators had a lot of passion for this game, the attention to back story, setting and historical significance goes without saying, it’s just a shame that it's a short lived experience and one where the immersion can fall short at times. As a respectful, well written game set within World War 1 it delivers a great story with a superb soundtrack to back it up.

We’ve also reviewed Two Falls (Nishu Takuatshina), another narrative adventure from Unreliable Narrators.

The Caribou Trail

Release: May 14, 2026 (PC); July 7, 2026 (PS5)

Genre: Narrative Adventure / First-Person Exploration

Developer / Publisher: Unreliable Narrators, Manavoid Entertainment / Unreliable Narrators, Indie Asylum (PC); ManaVoid Entertainment Inc. (PS5)

Platforms: PlayStation 5 · Windows PC (Steam)

Related Reading

The Caribou Trail — Ronny’s PC Review (32:9 Ultrawide)

Two Falls (Nishu Takuatshina) Review

Best Walking Simulator Games to Play in 2026

The post The Caribou Trail PS5 Review: A Moving WWI Story With Uneven Gameplay appeared first on Fix Gaming Channel.

Ruby Lake Turns an Empty Summer Camp Into a Zombie Survival Map

Ruby Lake brings an abandoned summer camp and 1980s slasher-film influences to No More Room in Hell 2. Torn Banner Studios launched the Camp Blood update on October 22, 2026, adding the new Survival map alongside Responder Retirement and experimental subtitles.

The eight-player zombie shooter, which we covered at its Early Access launch, now sends squads to the outskirts of Warren County, New Jersey. The CRC is helping evacuate civilians while drawing the undead into the empty camp facilities.

Camp Blood Launch Trailer

Watch the official Camp Blood launch trailer

More Horror News, Fewer Missed Updates

Get new game updates, developer interviews, and independent games coverage from Fix Gaming Channel.

Ruby Lake brings a campsite setting to Survival mode. Image: Torn Banner Studios.

Retirement Rewards and Experimental Subtitles

Responders become eligible for retirement at level 100. Retiring one removes that character from the playable roster and contributes experience to Distinguished Service, a separate progression track with rewards including extra loadout slots, cosmetics, perks, and passive items.

Torn Banner says the system also provides a route to items intended for the upcoming Hell Mode. That mode is not part of this release. The developer published its detailed Camp Blood patch notes on October 20, two days before the update launched.

The experimental subtitles cover CRC dialogue only. They communicate mission objectives but do not yet reproduce every spoken variation, so this is not full subtitle support for all dialogue.

Separately, three optional cosmetic bundles—Enforcer, Killer Cat, and Scarecrow—are available to buy. These paid packs are distinct from the update’s gameplay additions and the cosmetic rewards earned through retirement.

The update also changes map balance and addresses bugs, although squad-formation problems under certain network conditions remain listed as a known issue. For more multiplayer horror options, see our co-op horror games on Steam roundup.

No More Room in Hell 2

Release: August 11, 2026 (full release); Camp Blood update: October 22, 2026

Genre: Co-op zombie shooter / Survival horror

Developer / Publisher: Torn Banner Studios

Platforms: PC — Steam; PlayStation 5; Xbox Series X|S

Related Reading

No More Room in Hell 2 Early Access Launch Brings 8-Player Zombie Survival

12 Best Co-op Horror Games on Steam in 2026

The post No More Room in Hell 2’s Camp Blood Update Adds a Slasher-Inspired Survival Map appeared first on Fix Gaming Channel.

Why the Full Game Goes Further Than Its Demos Suggest

Tokyo Stories opens quietly, but producer and director Yuki Ikeda says there is more to the game than walking through its deserted streets. In our written interview, he discusses the project’s ambitious scope, the changing relationship between Suzu and Yuno, and what the team wants players to notice beyond the trailers.

The questions were sent ahead of Tokyo Game Show 2026, as part of the same remote interview arrangements as our ANOMALITH conversation with Gai Kidokoro. Below, Ikeda talks about development support from Happinet and CharacterBank, the detail in the city’s back alleys, and doing things differently from rain.

Tokyo Stories Official Trailer

Watch Tokyo Stories: The Night Moves Again

More Conversations With Game Developers

Hear from the people making the games on your wishlist.

Holding On to the Original Vision

Tokyo Stories has been shown publicly in different forms for several years now. Looking back at the original version of the project and comparing it with the game today, what has changed the most that players might not immediately notice from screenshots or trailers?

Thinking about it now, perhaps very little has changed.

Terashima and I have continued working to bring the vision we originally imagined to life. That said, the content we’ve experienced along the way may have influenced us, so there may be some subtle changes in the finer details.

Tokyo itself has changed considerably due to ongoing redevelopment, but the Tokyo depicted in the game hasn’t been affected all that much by those changes.

The additional development time has clearly allowed the project to continue evolving. Was there a particular moment, piece of player feedback, or internal decision that significantly changed the direction of the game?

We haven’t made any major changes to the overall direction of the game. However, the scope we originally envisioned proved far too ambitious to complete as planned, so we’ve repeatedly reassessed how to bring the project to life while staying true to what we wanted to create.

Some players have commented that the demos released so far make the game look like it’s just about walking around. The slow pace at the beginning is intentional, but how to communicate that there are a variety of gameplay experiences in the later sections, each tailored to its own scene, is something we’ve discussed extensively as a team.

Support, Scope, and the Tokyo Game Show Demo

Happinet joined Tokyo Stories as publisher in 2026, with CharacterBank also providing development support. What has that partnership allowed you to do with the game that would have been difficult for the original team alone?

The biggest difference is that we now have an environment where we can focus on development. In addition to financial support, having CharacterBank join us as a development partner has made a significant difference to both our ability to improve the game’s quality and the efficiency of the development process.

On the promotional side, we’ve also been able to reach audiences on a scale that wouldn’t have been possible for a small team alone. This includes exhibiting at TGS, launching the “TOKYO DIVE 360°” promotion, and establishing a presence on Chinese social media. We’re truly grateful for the support, which has been a tremendous source of reassurance for us.

Players at Tokyo Game Show are getting another opportunity to play the game. What did you specifically want this latest TGS demo to communicate about Tokyo Stories that earlier demos perhaps couldn’t?

The demo itself hasn’t changed significantly from the versions we’ve showcased in the past.

We would have liked to show players new areas and situations, but we decided to prioritize development of the full game instead. We are planning to release new demos and other opportunities to experience the game as we approach launch, so we hope you’ll look forward to them.

The Details Behind the Deserted Streets

You have also launched TOKYO DIVE 360°, allowing people to explore the game’s world and discover hidden information and items online. Is this purely an extension of the TGS presentation, or does the idea of carefully observing a location and discovering details also reflect how you want players to approach the full game?

The idea started with wanting people who couldn’t attend TGS to have the opportunity to walk through the world of Tokyo Stories, but we also wanted to encourage them to take their time and look around carefully. We’ve filled the game’s back alleys with details such as outdoor air-conditioning units, pipes, stickers, and posters, perhaps even to an excessive degree. We designed these environments so that players could sense the atmosphere of each place and feel the presence of the people who once occupied it.

In the full game, we think players will enjoy the experience even more if they pay attention to every corner of the fixed-camera scenes and wonder what might lie further down each alley as they explore.

Tokyo Stories follows several characters whose stories overlap around a Tokyo where everyone has disappeared. How difficult is it to give players enough information to form their own theories while still protecting the larger mystery?

Many games these days move their stories along at a fast pace, so I understand that some players may find the slow opening of Tokyo Stories a little frustrating. At the same time, if we explained everything from the start, players wouldn’t have the opportunity to share in Suzu’s sense of uncertainty.

As the plural Stories in the title suggests, multiple stories overlap in this version of Tokyo. The biggest challenge is deciding which stories to reveal and in what order. Rather than leaving things ambiguous all the way to the end, the narrative develops substantially in the full game. In the meantime, we hope players will enjoy having the space to think, speculate, and imagine what might be happening.

What Tokyo Stories Does Differently From rain

You and Seiichi Terashima previously worked together on games including rain. A lot is naturally said about the similarities between those projects and Tokyo Stories, so we’d like to turn that around: what is something you deliberately wanted to do differently this time because of what you learned from those earlier games?

The biggest difference is the characters. In rain, the protagonist was invisible and had no dialogue, whereas in Tokyo Stories, we’ve portrayed Suzu and Yuno as contemporary characters who communicate through actual conversations. We’ve also been careful not to make Suzu too passive, and I hope her feelings will resonate with players and move them, even if only a little.

The setting is another difference. When we worked on rain, we were strongly drawn to the idea of depicting a city overseas, but this time we chose Tokyo, a place that represents our own roots. We’ve also taken a different approach to the music by working with Newly, a hip-hop beatmaker rather than a traditional video game music composer. That, too, has been a new challenge for us.

Finally, what do you think will surprise players most about Tokyo Stories once they get beyond what has been shown in the trailers and public demos?

I think players will be most surprised by how the story gradually gathers momentum, moving beyond the quiet atmosphere established at the beginning. As the reasons behind Tokyo’s deserted streets and what happened between Suzu and Yuno are gradually revealed, Suzu herself also begins to change.

In terms of gameplay, there’s much more than exploration alone. Each scene offers a different kind of experience, and I hope there will be moments when players think, “So this is what the game is all about!”

For another conversation about how music shapes a game’s identity, read our interview with composer Benedict Nichols.

Tokyo Stories

Release: To be announced

Genre: Adventure

Developer / Publisher: Drecom Co., Ltd. / Drecom Co., Ltd., Happinet

Platforms: PC (Steam); consoles announced, specific platforms to be confirmed

Related Reading

ANOMALITH Interview: Gai Kidokoro on Showa-Era Horror and Survival

Behind the Scores: An Interview With Benedict Nichols

The post Tokyo Stories Interview: Yuki Ikeda on What Lies Beyond the Demos appeared first on Fix Gaming Channel.

Jazz, rogue robots, and a deadly mystery beneath the glamour

Satellite Odyssey: Jupiter caught our team’s attention with its noir atmosphere, unsettling robots, grotesque creatures, and striking decopunk art direction.

A woman in an evening dress faces a polished service robot inside a glamorous lounge. Elsewhere, something hideous waits in a blue-lit corridor. Add old-fashioned jazz, deep shadows, and a detective mystery, and you have a game we want to know a lot more about. This looks like it could be a killer detective game.

After ROCKBEASTS, our Game of the Week #76, we’re heading somewhere far less welcoming. Developed by Antifreeze Games, Satellite Odyssey: Jupiter is a sci-fi survival horror adventure with a full Steam release planned for 2027.

Watch the Satellite Odyssey: Jupiter Gameplay Trailer

Watch the official gameplay trailer shown at Galaxies Autumn 2026 on YouTube

Looking for more indie games with character?

Get our Game of the Week picks, interviews, reviews, and gaming news in your inbox.

A grand opening with a very bad ending

The story begins aboard a luxury space station on one of Jupiter’s moons. Its grand opening has ended in disaster. The wealthy guests are dead, the service robots have turned violent, and mutant insects have made themselves at home.

You play as May, who wakes up with no memory of what happened or even who she is. The station’s glamorous suites, casino, concert hall, and utility corridors now offer different ways to get into trouble.

The contrast is one of the best things about what we’ve seen so far. The elegant interiors and vintage styling look beautiful, but the atmosphere is anything but comfortable.

A polished service robot in one of Satellite Odyssey: Jupiter’s dark, luxurious interiors.

Not every problem needs a bullet

Surviving means choosing when to fight and when to sneak past enemies. May can search for weapons, experimental equipment, and resources, but limited inventory space makes preparation important.

The station’s glamorous setting hides some distinctly unpleasant encounters.

There are environmental puzzles too, including a multifunctional device intended to control machinery, uncover passages, and help turn parts of the station against its threats. It sounds like a good fit for a game where the setting should be more than a backdrop.

The detective side is what we really want to see

The horror is obvious from the footage. It’s the planned detective system that could give Satellite Odyssey: Jupiter something more distinctive.

The developers describe examining crime scenes, collecting evidence, and using event cards to piece together what took place. There is also a wider story involving corporate conflict and a conspiracy behind the disaster.

Art Deco interiors and neon light give Satellite Odyssey: Jupiter its noir atmosphere.

That sounds promising, but there is an important distinction: the first public playtest in June focused on atmosphere, exploration, and survival. The developers said it did not yet include the detective investigation system, which they planned to introduce in a later test. We have not tested those features ourselves.

Why Satellite Odyssey: Jupiter is Game of the Week #77

Our team was drawn to the visuals first: the lighting, the Art Deco shapes, the eerie elegance, and those wonderfully unpleasant-looking creatures. The jazz and rogue robots complete a very unusual combination.

Lighting and shadow help give the station a constant sense of unease.

If Antifreeze Games can deliver the investigative gameplay alongside the survival horror, this could be a detective game worth watching closely. For now, its presentation and concept have more than earned our attention.

Satellite Odyssey: Jupiter is Fix Gaming Channel’s Game of the Week #77.

You can request playtest access on Steam

The Satellite Odyssey: Jupiter Steam page currently offers a Request Access option. You can register your interest, but that does not guarantee immediate entry into a playable build. Steam lists the full release for 2027.

Satellite Odyssey: Jupiter

Release: 2027 (planned)

Genre: Action, Adventure, Indie / Sci-Fi Survival Horror and Noir Mystery

Developer / Publisher: Antifreeze Games

Platforms: Windows PC — Steam

Related Reading

ROCKBEASTS Is Game of the Week #76

Aether & Iron — Decopunk Noir and Tactical Combat

Silver Pines — A Noir Survival Horror Metroidvania

The post Satellite Odyssey: Jupiter Is Game of the Week #77: Noir, Robots, and a Station Full of Secrets appeared first on Fix Gaming Channel.

Twenty Years of Origami Inspired a Puzzle That Needs a Fold

Developer Adrien Friggeri explains why he built Orisuji for a phone he had never held.

When Apple introduced its folding iPhone Duo, the possibilities were immediate for an origami enthusiast. Rather than treating the hinge as a novelty, Adrien wanted the physical fold to become the heart of the puzzle. Here is his account for Fix Stories, told in his own words.

For another mobile development journey, read our Stelline developer story.

Watch Orisuji in Action

Official trailer and Dawn 9 folding demonstration (press kit)

The People Behind the Games

Read more firsthand stories from indie developers and keep up with gaming news on Fix Gaming Channel.

The crease a fold leaves

By Adrien Friggeri

I’ve been really into origami for the better part of the last 20 years. So when Apple announced iPhone Duo, a phone that folds like a book, I couldn’t stop thinking about it. I didn’t want to make a game that just happens to run on a folding phone. I wanted one where folding the phone is the move.

It began with a question: what if you could see through the left screen? Unfolded, the Duo is two pages side by side. Put a paper maze on the right page, and on the left a second page with holes in it. Fold the phone and the left page lands on the maze: its paths bridge the holes below, and whoever is underneath is pinned flat. Unfold it and the page lifts away, carrying whoever stood on it. Walk, fold, walk on, unfold. Once I had that, the rest of the game grew out of it, it took me about four weeks to build.

A red paper crane navigates a folded-paper maze toward a gold moon.

Folding origami naturally mirrors the folding of the phone, so it shaped the look of the game too. You play a red paper crane. A folded paper fox chases you, and a black and a gray cat follow the corridors; they are one sheet of two-sided paper folded both ways: one with the black side out, the other with the gray side out, each showing a flash of the other color at the ears and the tail. The exit is a full moon of gold leaf, and each of the six worlds, from Dawn to Dusk, has its own paper.

The name comes from the same place. Orisuji, 折り筋, is the crease a fold leaves in the paper. I went through about 300 names, and it’s the one that stuck.

Three things made developing Orisuji very interesting:

The first is that I designed the whole game for a phone I’ve never held (since I don’t have a Duo yet) and had to rely on Apple‘s simulator. This helped answer many questions: how large the cover screen is, how the maze should continue there once the phone is folded, and what to show while it’s half folded (a peek at what the fold will do). What it can’t tell you is how the fold feels in your hand. I’m looking forward to finding out!

The second is that a fold can’t be undone. Most puzzle games let you take a move back, but when you fold the phone, it stays folded; no button can unfold it for you. So Orisuji has no undo, and that changed the puzzles more than anything else. Every fold is a decision, and nothing on the board moves until you do, so you can look for as long as you like before you commit. Reset is always there when a plan goes wrong. It also fits the name: in paper, a crease stays.

The third is how hard it is to make the fold matter. It’s easy to design a fold that’s just a shortcut, and I didn’t want a gimmick. So I designed a solver that checks every level to find all possible solutions and ensures that all but a handful of tutorial levels require a fold to be solved. The solver also finds the shortest route, which becomes the level’s par. If you can match it you’ll earn a hanko, the red seal that marks a page as done and adds another layer to the game: it’s not just about completing a level, but finding the shortest path to the end.

Another Orisuji maze features a paper fox, crane, and shifting paths.

Orisuji comes out on October 23rd, the day iPhone Duo goes on sale. It’s designed for the Duo, but it plays on every other iPhone and iPad too, where you fold with a tap or a pinch. It’s $4.99, with no ads and no in-app purchases.

Adrien Friggeri, designer of Orisuji

Orisuji

Release: October 23, 2026

Genre: Puzzle / maze

Developer / Publisher: Adrien Friggeri

Platforms: iPhone, iPad — App Store ($4.99 US)

Related Reading

Fix Stories: Four Years Making a Combat-Free Metroidvania

Fix Stories: One Swift Engine, Two Phones — How Stelline Came to Android

The post Fix Stories: I Built an iPhone Duo Game Without Owning the Phone appeared first on Fix Gaming Channel.

A free mask, Survival rewards, and a GTA$500,000 Short Trips bonus

GTA Online’s October 22–28, 2026 event week includes a free mask, GTA$150,000 and an outfit for completing a Survival, and GTA$500,000 for finishing all three Short Trips.

Our GTA V Enhanced upgrade coverage details the PC changes.

Watch the returning Survival mode

Rockstar Games’ official Ludendorff Cemetery Survival trailer (2024)

Keep up with the games you play

Get gaming news, interviews, and useful updates from Fix Gaming Channel.

Clear a Survival for GTA$150,000

According to Rockstar Games’ Halloween calendar, completing every wave of a Survival during October 22–28 awards GTA$150,000 and the Gray Space Interloper Outfit.

Alien Survivals, Cayo Perico Survival, and Ludendorff Cemetery Survival pay triple GTA$ and RP, separately from the weekly challenge reward.

Finish all three Short Trips for GTA$500,000

RockstarINTEL’s October 22–28 event rundown lists an additional GTA$500,000 for completing all three Short Trips before October 28, with payment arriving within 72 hours of completion.

The co-op missions feature Franklin and Lamar. Rockstar Games opened them to all players through the Jobs menu in February 2022. You do not need to complete Dr. Dre’s storyline first.

Free mask and GTA$2 million challenge bonus

Playing during October 22–28 also unlocks the White & Red Tech Demon Mask.

The GTA$2 million Halloween bonus requires completing all five weekly challenges across October 1–November 4, not just this week’s Survival.

The event calendar lists dates without an exact worldwide cutoff time. The Short Trips offer specifies completion before October 28.

Other boosted activities

Bail Office Targets and Dispatch Work pay double GTA$ and RP throughout October, while Random Transform Races and the San Andreas Super Sport Series offer triple rewards.

Bail Office Targets and Dispatch Work offer double rewards throughout October. Image: Rockstar Games.

GTA Online

Event week: October 22–28, 2026

Genre: Online open-world action

Developer / Publisher: Rockstar Games

Game: Official GTA Online page · GTA V Enhanced on Steam

Related Reading

GTA Online: Oscar Guzman Flies Again

GTA V Enhanced PC Upgrade

The post GTA Online Halloween Rewards: What to Claim Before October 28 appeared first on Fix Gaming Channel.

Email addresses, login metadata, and last-used IP addresses were accessed

Capcom says unauthorized access to CAPCOM ID affected 11,774,247 records worldwide, creating an immediate risk of convincing phishing messages aimed at players.

Capcom confirmed the incident on October 22, 2026, after detecting suspicious activity three days earlier. The affected service is CAPCOM ID, the unified account used for several company web services and required for online play in certain Capcom games.

This is a confirmed compromise of the CAPCOM ID service. It is different from an individual account takeover such as the cases covered in our Roblox account recovery guide. Capcom says its games remain available and the incident does not prevent players from accessing or playing them.

Want more gaming security warnings that separate confirmed breaches from rumors?

Get factual security alerts, scam warnings, gaming news, interviews, and independent coverage from Fix Gaming Channel.

What information was affected

According to Capcom’s official notice, the 11,774,247 affected records include email addresses and system information: the date and time an account was created, the date and time of its last login, the number of logins, and the client IP address used for the last login.

Within that total, 43 records also included a date of birth, gender, country or region, and nickname. Capcom also confirmed that login passwords were changed without authorization on 196 accounts. Those passwords have been reset.

Capcom has not confirmed that passwords originally chosen by customers were exposed. Credit card information was not included among the affected data.

Why players should watch their inboxes

The immediate player risk is impersonation. Capcom warns that the exposed information could be misused for fraudulent emails or other messages pretending to come from the company or a related party.

Do not open attachments or follow links in a suspicious message. If an email claims there is a problem with your account, open the official CAPCOM ID website yourself or use Capcom support. This is especially important because convincing branded messages are already a recurring tactic in gaming account and phishing scams.

Capcom says the attack method has been addressed

Capcom detected the activity on October 19 and began blocking access while investigating. The company established an internal incident response headquarters on October 20, then reported the matter to the Osaka Prefectural Police and Japan’s Personal Information Protection Commission on October 21.

The company says it has identified and addressed the method used in the attack and completed its emergency response measures. It is contacting affected customers, operating dedicated support channels, and continuing to investigate the full scope of the incident. No attacker identity or motive has been confirmed in the company’s notice.

Related Reading

Roblox Account Hacked? What to Do First

Steam and Discord Scams Are Getting Smarter in 2026

Gamers Beware: The History and Rising Threat of Gaming Viruses

The post Capcom ID Breach Exposes 11.7 Million Records Worldwide appeared first on Fix Gaming Channel.

Why Three Weather States and 36 Hand-Built Stages Became the Whole Game

For this Fix Stories contribution, Jim of Honest Little Apps explains the design choices behind RushOrb: Storm Atlas.

Some runners use weather as scenery. This developer set out to make it the core mechanic, with every obstacle responding to the player’s choice. This is part of Fix Stories, our first-person creator series.

For another firsthand mobile development story, read how Instant Estresso grew from a soundtrack into a game.

More Stories Behind the Games We Play

From solo development decisions to unusual game mechanics, keep up with original creator stories and independent gaming coverage.

Making the Weather the Puzzle: The Decisions Behind RushOrb: Storm Atlas

By Jim, Honest Little Apps

Most runners treat weather as wallpaper. Rain streaks across the screen, snow drifts in the background, and none of it changes what your thumb has to do. RushOrb: Storm Atlas started from the opposite question: what if the weather was the control scheme?

The answer became the Weather Dial. You steer a small critter orb with one thumb and switch the weather with the other. Frost freezes ghost bridges solid so you can cross them. Blaze melts glass gates out of your way. Gale makes the orb lighter and lifts it over hurdles. Each call re-tunes the course instantly, so the weather stops being scenery and becomes the puzzle.

A run through an icy course with RushOrb’s weather controls on-screen.

Why three weathers, not ten

The early temptation with a mechanic like this is to keep adding states. More weather types sound like more depth. In practice, every extra option is something a player has to hold in their head while the orb is moving, and the game is meant to be played one-handed on a phone, often in short bursts. Three is the number that fits: each one has a single, readable job, and the challenge comes from timing and combining them rather than from remembering what a fourth or fifth one does.

That constraint also shaped the level art. Every obstacle has to say, at a glance, which weather it answers to. A ghost bridge has to look like it would hold if it froze. A glass gate has to look like it would melt. If a player fails, the goal is for them to know immediately which call they missed, not to feel the game was unfair.

The Weather Dial uses three states: Frost, Blaze and Gale.

Why hand-built stages instead of an endless runner

A fair question about RushOrb is why it isn't simply an endless runner. Endless mode is in there, along with a Daily challenge that gives everyone the same seed for the day, but they sit on top of the main thing: 36 hand-built stages across six regions.

The reason is that the Weather Dial is a puzzle mechanic, and puzzles need authored moments. Procedural generation is good at variety, but it is hard to make it build the moment where you realise a frozen bridge, a melted gate and a gust have to happen in that exact order. Hand-built stages let each region introduce an idea, push on it and then combine it with what came before. Each stage has three beacons to light and its own challenge, such as parting Storm Walls or crossing Frost Bridges, and the 108 sparks across the game add up to completing the Atlas.

The aim was a journey with a sense of progress, not a high-score loop you grind until you put the phone down.

A stage-selection screen shows RushOrb’s objectives and progression.

The hardest part: making it readable at speed

The trickiest problem was not the weather logic itself. It was making a weather switch feel instant and fair while the orb is already moving. If the change lands a fraction late, or the player can't tell whether a bridge is solid yet, the mechanic stops feeling like a skill and starts feeling like luck. A lot of the work went into tuning that moment so that the call, the visual change and the result all read as one action.

One thumb for steering and one for the dial also meant thinking carefully about where controls sit on the screen, so that switching weather never blocks your view of what's coming.

Decisions about money

RushOrb has no ads, needs no account and plays fully offline. Coins are earned only by playing. There are optional cosmetic packs and an optional RushOrb Plus subscription, but they are for style and bonus rewards and are never needed to clear a stage. That was a deliberate line: if the game is a puzzle, the solution shouldn't be for sale.

What I'd tell another developer

If you have a mechanic you like, it is worth asking whether it is decoration or the actual game. For RushOrb, moving weather from the background to the player's thumb is what turned a familiar genre into something worth building. Keeping the set of options small and building the levels by hand were the two decisions that made that idea work.

RushOrb: Storm Atlas is a free download for iPhone and iPad:

https://apps.apple.com/us/app/rushorb-storm-atlas/id6819697945

RushOrb: Storm Atlas

Release: Available now

Genre: Arcade runner / weather-based puzzle game

Developer / Publisher: James Gray (App Store listing)

Platforms: iPhone and iPad — App Store

Related Reading

Fix Stories: One Swift Engine, Two Phones — How Stelline Came to Android

Instant Estresso: Music, Coffee, and Solo Mobile Game Development

The post Fix Stories: How RushOrb: Storm Atlas Turns Weather Into the Puzzle appeared first on Fix Gaming Channel.

A train ride through Izu, a sushi truck, and a game built to be finished

Interview by Ronny Fiksdahl, with additional questions from Aidan Minter.

A train ride through Japan’s Izu Peninsula helped give Neil O’Sullivan Greene the setting for Sushi On Wheels. The founder of Greene Rapture is building a cooking and management game around a traveling sushi truck. A free demo is available on Steam, where the full game is currently scheduled for December 7, 2026.

In our interview, Neil discusses his background in VR art, keeping a project sustainable, and learning where players get stuck. As in our interview with Outside the Blocks developer Michał Kubas, the conversation also turns to the choices involved in finishing an indie game.

Sushi On Wheels – Official Gameplay Trailer

Watch the official Sushi On Wheels gameplay trailer

More conversations with indie developers

Get developer interviews and stories about the work behind independent games.

Japan, food, and visual identity

1. You’ve spoken about your time in Japan helping inspire Sushi On Wheels. Was there a particular place, meal or moment that made you think, “this could be a game”?

I remember being on the train heading into Izu and seeing the landscape unfold. The volcanic terrain and all the different mountains really stood out to me. It felt unlike anywhere I’d been before, and I couldn’t think of a game I’d played that captured that particular setting. That’s when I started thinking it would be a really interesting place to build a game around.

2. How important was it to you that the food and Japanese setting felt authentic rather than just using sushi as a cute visual theme?

It was really important. After spending time in Japan and learning more about the culture through my partner, it felt natural to pay attention to those details. She’s been a great sounding board: I might show her something I’d made, and she’d point out that it wasn’t something you’d actually find in Japan. Having that perspective has helped keep me on track. The game is playful and stylised, but I still want the food and setting to feel connected to the place that inspired them.

The game’s map brings together hills, coastal roads, and marked destinations. Image credit: Greene Rapture.

3. You started out working with 3D props and character art in VR before moving through freelance indie work and eventually becoming an Art Lead. How much of that background can players see in the visual identity of Sushi On Wheels?

Quite a lot, I think. Most of the art is made from scratch, and where I’ve used existing assets, I’ve reworked them to fit the style. Having a clear art direction has been a big part of bringing everything together.

My VR background helped technically, too. Working within strict performance limits taught me to think about optimisation from the beginning. I brought that approach into this project so it looks good and runs well on a range of systems.

Learning to finish an indie game

4. You’ve worked on several projects that were never released or announced. Did spending years contributing to other people’s games influence your decision to finally build something of your own?

It did, although I was always making my own prototypes and trying out ideas alongside those jobs. Even when I was working as a 3D prop artist, I knew I eventually wanted to make my own games. I’d always had ideas I wanted to see through, so it felt like a natural progression.

Working on other projects made me more aware of how much scope and decision-making matter. You can have talented developers and exciting ideas, but you still need a realistic path to finishing. That’s something I’ve tried to keep at the centre of this project: build something I know I can make and finish, and be selective about what goes into it.

5. You’ve mentioned that Harakka went bankrupt while you were working there. Did going through a studio closure change the way you think about scope, budgets or keeping an indie project sustainable?

It reinforced an approach I already felt strongly about. I was already cautious about scope and taking on more than a project can support, and going through it made those concerns more concrete.

For my own work, that means being honest about my time, resources, and what I can deliver. I still want to be ambitious, but in a way that fits a project I can sustain and finish.

6. At what point did you stop thinking of yourself primarily as an artist and start thinking, “I can lead and ship my own game”?

That confidence started to develop at Harakka. I had a lot of imposter syndrome, but I ended up working on gameplay systems as well as art, and it went well. Being around that team made me realise I actually know more than I thought about game design and how to put a game together.

Making cooking feel right

7. Coming from an art-heavy background, what part of developing Sushi On Wheels outside the art itself has been the biggest learning curve for you?

Balancing the systems, definitely. It’s one thing to say, “If the truck is dirty, customers won’t want to eat there,” but it’s hard to make that feel balanced in play.

UX has been big too. Making menus that feel intuitive on both PC and gamepad was a huge challenge. I knew I had to build for both from the start, but even then, it was tough.

8. There’s a lot happening at once in the game — cooking, serving customers, moving around and managing the restaurant. How did you balance keeping it relaxing while still giving the player enough pressure to stay engaged?

Difficulty options help. It can sound hectic, but it doesn’t have to be. If you want cozy, there’s no timer. You can take your time, clean the truck, make sushi carefully. There’s no penalty for serving fewer customers. So people can play at whatever pace feels good.

A customer waits at the sushi truck beneath pink trees. Image credit: Greene Rapture.

9. What did you learn from releasing the demo that changed, confirmed or challenged your plans for the full game?

One thing that really stood out was how much people mentioned the animation. I love doing animation, and I had so many ideas I didn’t have time to include. Seeing people call out the animation and the character it gives the game was really encouraging.

Some mechanics weren’t as intuitive as I’d hoped, though. Watching Let’s Plays was incredibly helpful. I could see exactly where players were getting stuck.

10. What has been the hardest part of developing Sushi On Wheels as an indie project that players probably wouldn’t notice from playing the demo?

Menus. When they work, you don’t think about them. When they don’t, they’re really annoying. Truck customisation has been especially tricky, making it feel intuitive on both gamepad and PC.

A blue-and-white truck displays a large sushi decoration on its roof. Image credit: Greene Rapture.

Finding the audience

11. The game feels like a cross between an animated Sylvanian Families meets Cooking Mama. Is there a specific audience identifier you’re hoping to hook with Sushi On Wheels?

People who love cooking games and cozy, atmospheric experiences. Sometimes you just want to do something comforting, maybe while watching a movie or winding down after a long day, and that’s the space I’m thinking about.

12. What are the challenges to keeping a game like this fresh for players, and how is Sushi On Wheels primarily different from other cutesy cooking games?

Keeping it fresh comes from progression: new recipes, decorations, outfits, and learning about characters as festivals unfold.

I wouldn’t say it’s wildly different from other cutesy cooking games, but the Izu setting and the focus on animation give it its own feel. I looked at games I love and tried to bring in things I wished they had.

13. In terms of marketing and PR, where do you target Sushi On Wheels to have the most impact to raise awareness given the competitiveness in the marketplace right now?

Anywhere people will listen. TikTok, Instagram, Bluesky, Twitter, and Reddit. Just wherever folks are actually hanging out.

14. When the full game releases, what do you hope players remember most about it after they’ve finished playing — the cooking, the characters, the setting, or something else entirely?

I’d love them to remember the feeling, relaxing with it, or those close-call stories where they nearly missed an order but pulled it off.

Sushi On Wheels

Release: December 7, 2026 (planned); free demo available on Steam

Genre: Casual, Indie, Simulation

Developer / Publisher: Greene Rapture / Rogue Duck Interactive, Gamersky Games

Platforms: Windows PC — Steam

Related Reading

Outside the Blocks: Interview with Solo Dev Michał Kubas

ANOMALITH Interview: Gai Kidokoro on Showa-Era Horror and Survival

The post Sushi On Wheels Interview: Neil O’Sullivan Greene on Japan, Art, and Indie Development appeared first on Fix Gaming Channel.

Developers can enter without using AI, despite the event’s name

Epic Games has dropped the mandatory-AI requirement from its 2026 Epic AI MegaJam. The company says its original FAQ was a mistake, and developers can enter without using AI.

The clarification concerns entry requirements; Epic is still encouraging AI tools. For a broader perspective, Fix Gaming Channel previously examined AI tools and disclosure in an editorial.

Game jams, tools, and developer decisions

Follow how industry decisions affect the people making games.

Epic calls the original requirement a mistake

In a correction posted by the official Unreal Engine account, the company wrote: “Our FAQ originally said you had to use AI for the MegaJam. That’s our mistake.”

The current event FAQ now explicitly says AI is not required. Developers who want to participate using their usual tools can do so, subject to the competition’s other entry requirements.

AI remains part of the event’s programming and prizes. Its $2,500 Walkie-Talkie category rewards a narrative-driven UEFN game featuring characters powered by large language models.

Four days to build, with grants beyond the prizes

Epic announced the jam on October 22, 2026. It runs November 12–15, with the theme revealed on November 11. Participants must build in Unreal Engine or Unreal Editor for Fortnite (UEFN), working alone or in teams of up to five people.

Official Unreal Engine promotional artwork, used for context. Credit: Epic Games.

The event advertises $65,000 in cash prizes, alongside Development Continuation Grants of up to $50,000 per selected team. Those grants are intended to help standout entries continue development after the jam.

Online participation is available, so attending the San Francisco gathering is optional. Developers considering an entry should check the event page and its linked official rules for eligibility and submission requirements.

Related Reading

Editorial: Everyone Uses AI Now. So What Are We Really Disclosing?

Epic Games Launcher Adds Linux Support in New Preview

The post Epic Drops Mandatory AI Requirement for Its AI MegaJam appeared first on Fix Gaming Channel.

A Self-Taught Creator’s Struggle With Android Testing and Two Storefronts

In this first-person account, Tony, known online as Landers2K, shares the stops, restarts, and lessons behind his first mobile game.

For years, Tony kept putting off the game he wanted to make. When he finally began, Android testing led him to shelve the project for months. He eventually returned, finished Don't Tap Red, and navigated two separate mobile-store launches. This is his story, told in his own words for Fix Stories.

Watch Don't Tap Red in Action

Watch the official 18-second Arcade gameplay clip.

Stories From the People Making Games

Read more first-person development stories, indie gaming news, and interviews from the people behind the games.

From “one day” to day one: making my first game alone

By Tony (Landers2K), LNDRS Studio

Hi, I’m Tony, but most people online know me as Landers2K. I’m 32, I’m from Paris, and I make gaming content on TikTok, YouTube and Twitch. A few days ago, I released my very first game, Don’t Tap Red, on iPhone and Android.

Here’s how it happened.

Always “one day”

I’ve always loved the other side of video games. Not just playing them, but understanding how they’re made: the code, the logic, the little details that make a game feel good. For years I told myself I would try it one day. And for years, “one day” kept moving, because there was never enough time.

About seven months ago, I stopped waiting. I’m completely self-taught: no school, no studio, no team. Just Godot, my own skills, a lot of trial and error, and a lot of late evenings.

And then I stopped. My first tests on Android were a struggle: things that worked on my computer didn’t work the same on a phone, and I got stuck. So the project went into a drawer for months.

About a month ago, I opened it again. This time I didn’t let go. I’ve been working on it nonstop ever since, and that last month is when Don’t Tap Red really became a game.

Why this game

I didn’t want my first project to be a giant game I would never finish. I wanted something small, fun and addictive, a game you understand in one second and can’t put down. The rule fits in one sentence: tap the blue, never touch the red.

Of course, “small” didn’t stay small for long. Every time I played, I had a new idea. The cubes started moving, speeding up, multiplying. Then came other modes: Rain, where cubes fall from the sky, Chrono, with 60 seconds to get the best score, and Challenge, with 20 worlds to beat. Then skins, missions, levels, leaderboards, friends…

Arcade mode tests the player’s reactions with blue and red cubes.

The idea I’m proudest of is the community boss. Once a season, every player fights the same giant boss together. Its HP drops live for everyone, and each player is rewarded based on their place in the damage ranking. The first one, The Black Cube, arrives on November 2. For a small solo game, I love the idea that players around the world are playing together, not just side by side.

The Black Cube is the game’s first shared seasonal boss, scheduled for November 2.

What went wrong

Making the game was the fun part. Getting it onto the stores was a different story.

I had no idea how many rules and restrictions there are on Google‘s and Apple‘s side before a game can go live: reviews, forms, policies, settings for purchases and ads… and you have to get every single one right. Sometimes I was ready, but the stores weren’t. I had planned to release on October 20. In the end, it came out on October 21 on iPhone and October 22 on Android. Just one or two days late, but when you’ve been waiting for that moment for so long, every hour feels long.

The decisions I struggled with

When you work alone, nobody tells you whether an idea is good. You decide, you test, you change your mind, you test again.

Some game modes changed a lot before finding their final shape. Some challenges were rewritten several times. And some ideas I liked simply didn’t make it, because they didn’t make the game more fun. Deciding what to remove was often harder than deciding what to add.

In Rain mode, cubes fall through the screen as players chase points.

What I learned

1. Start small. It will grow anyway. My “small reflex game” ended up with five modes and a boss system.

2. Don’t give up for good. Putting the project aside for a while was fine; coming back to it is what made the difference.

3. Publishing is half the work. Finishing the game is one thing; getting it through the stores is another. Plan time for it.

4. Let people play early. My testers found things I would never have seen on my own.

5. Use the right tools. Godot was perfect for a solo developer like me, and at the very end I used a bit of AI to polish what needed polishing. But every choice in the game is mine.

Day one

When Don’t Tap Red finally appeared on the stores, under my own studio name, LNDRS Studio, I was just happy. Happy to see something I had imagined for so long become real, and playable by anyone with a phone.

Now I hope a lot of players will join, especially for the first boss fight on November 2. After that comes a Christmas season, then a new boss in January. I’ll keep improving the game and listening to the players.

“One day” finally became day one. If you’ve been waiting for the right time to start your own project, maybe it’s time to stop waiting.

Thanks for reading, and good luck: don’t tap red!

More first-person accounts of solo development include the story of Instant Estresso and bringing Stelline to Android.

Don't Tap Red

Release: October 21, 2026 (iPhone); October 22, 2026 (Android)

Genre: Arcade, reflex, casual

Developer / Publisher: LNDRS Studio (Tony, aka Landers2K)

Platforms: iPhone (App Store) · Android (Google Play)

Free to download; optional in-app purchases. English and French.

Related Reading

Fix Stories: Instant Estresso and Solo Mobile Game Development

Fix Stories: One Swift Engine, Two Phones — How Stelline Came to Android

The post Fix Stories: I Put My First Game Away for Months — Then Released It appeared first on Fix Gaming Channel.