Let’s back up a bit—Bramble: The Mountain King is an indie title developed by Dimfrost Games and published by Merge Games that tells the story of a young boy, Olle, and his adventurous sister Lillemor. Using classical Nordic tales as its base, Bramble: The Mountain King hopes to take us through an incredible audio-visual tour of classic folktales, both adorable, and often violent.

The game features a relatively simple story that feels like it was ripped right out of a classic book of fairy tales. Olle wakes up one night, frightened by nightmares, only to find his sister missing. Deciding to follow her trail into the forest, Olle eventually finds his sister, and the two set off for adventure, meeting magical creatures like the Frog King and gnomes along the way. Ultimately, Lillemor gets kidnapped by a troll, and Olle has to figure out how he can get his sister back. There’s nothing particularly complicated going on with the game’s story, with the highlight being the game’s general atmosphere throughout its environments.

"The game features a relatively simple story that feels like it was ripped right out of a classic book of fairy tales."

Despite the simplicity of its story, I’d argue that Bramble: The Mountain King suffers from some poor pacing, especially at the beginning. While it starts off in a fantastic way, building its thick atmosphere as you travel through a dark forest finding small people made out of acorns and sticks all over the place, there isn’t really much of a pay off before you find your sister. Once you find her, you’re going to be going through the rest of the game’s tutorials in a couple of bright and cheerful levels before quickly being thrown back into a dark world that’s seemingly out to get you at every corner.

The constant zigzagging doesn’t really make for a particularly engaging game. The title only really starts getting somewhat interesting once the plot finally kicks off after your sister is kidnapped, pitting you against some hyper-violent monsters in some gory levels.

Bramble: The Mountain King doesn’t really try to get too ambitious with its gameplay. It’s simple enough to play, with standard movement, the ability to sprint, crouch and jump, an interaction button, and a way to fight back against some of the more violent denizens of the forest. The gameplay never really gets too complicated. You’re often just simply platforming your way through the game’s various levels, avoiding deadly bear traps and other sharp objects along the way, and sometimes, you’ll be trying to find gnomes to help you open doors along your adventure.

"The gameplay never really gets too complicated."

The gnomes in particular seem quite influenced by mechanics from Nintendo’s Pikmin franchise, though it is worth noting that Bramble: The Mountain King never really gets too deep with its mechanics. You’re not going to have to figure out complicated ways to use different kinds of gnomes to approach a puzzle. Rather, you’ll need a set number of gnomes to open specific doors to continue, and it’s getting those gnomes that acts as the main puzzles of the game.

You’ll find gnomes in all kinds of situations through the game’s dark environments, and you’ll have to do different things to sway them to join your cause. The introductory sequence of Bramble: The Mountain King even gives you a short tutorial on how you’d go about recruiting gnomes and use them to open a massive door. Once the game’s main plot kicks off, gnomes are going to be in much more precarious positions, often needing your help to hopefully save their lives.

These small bouts of puzzle solving are often divided up with simple platforming segments that, while never really too difficult, give you a good chance to stop and experience the game’s gorgeous visuals. The other way your gnome-saving action is going to get interrupted is if you find yourself in one of the game’s many boss fights. An early one in particular is, once again, quite easy, but when it comes to sheer atmosphere and visuals, is an absolute treat.

As you might expect from a game that proudly touts that it features inspiration from Nordic folktales, Bramble: The Mountain King has a great variety of creatures that you’ll meet, befriend, and sometimes even fight. Creatures range from the troll that kicks off the plot by kidnapping your sister, to adorable little gnomes, and even King Frog, who saves your life in an early part of the game and considers you a true friend.

All of this is punctuated by gorgeous graphics that really bring the game’s various environments, from the forests, to bridges over cliffs, and even to the downright gory house full of animal carcasses, to life. Visually, Bramble: The Mountain King mixes photo-realism in its environments with a more cartoonish look to its various creatures, including protagonists Olle and Lillemor. This gives the game quite a unique look, making its various tableaus look like they’ve been ripped directly out of a musty old storybook.

"These small bouts of puzzle solving are often divided up with simple platforming segments"

On the audio side of things, however, Bramble: The Mountain King feels like a bit of a let down. While some of the more atmospheric sounds are fine, and the narrator does a great job of explaining what’s happening without giving too many details away, something about how some of the game’s creatures—and especially the gnomes—sound feels quite grating. Their child-like giggles and cries initially seem fine, but then you learn quite quickly that they’ll make these sounds constantly until you finally recruit them, and trust me when I say that this can get quite annoying, quite fast.

As an experience, Bramble: The Mountain King might not be everyone’s cup of tea. The game features gameplay that is overly simplistic, and none of the core game design really meshes with its overarching themes or atmosphere. The game is almost entirely reliant on its audio-visual presentation, with the gameplay just being a rather simple excuse to try and get you from scene to scene. What I’m trying to get at is that there’s surprisingly very little “game” in Bramble: The Mountain King.

However, if you can set aside your expectations of a “game”, you might find Bramble: The Mountain King to be quite charming. It isn’t a particularly long game, and while it has a number of gameplay mechanics, none of them get particularly deep. I don’t think I’ll ever find myself revisiting Bramble: The Mountain King years down the line, however, since there really isn’t all that much to revisit. The story is simple, and while the visuals and atmosphere are all great, there’s nothing in its gameplay that draws me in.

This game was reviewed on the PC.

More specifically, it seems like a native, physical version of Dead Cells: Return to Castlevania is in the works for PS5, courtesy of Merge Games. That’s as per an ESRB rating for the same, spotted by Gematsu over on Twitter. Dead Cells is, of course, playable on PS5 via backward compatibility, but it seems like this release will bring the game to the console natively, while also bundling its Castlevania expansion right out the gate.

Whether other Dead Cells DLC will be included in this package and whether physical releases for other platforms are also planned remains to be seen. There’s also no word yet on when this will be officially announced, though one would presume that, with an ESRB listing having surfaced, that’ll be happening in the near future. Stay tuned for more updates.

Developer Ion Lands has announced that it’s partnering with Merge Games to bring Cloudpunk to PS5. It will launch digitally for the console on August 19, followed by a physical launch a week later on August 26. The PS5 version will feature run in 4K at 60 FPS, and will feature support for Activity Cards, DualSense features, and more.

Other visual upgrades include higher fidelity and resolution skyboxes, increased draw distances and render distance, better fog quality, improved volumetrics, higher quality bloom, and better lighting effects. For the first time on consoles, Cloudpunk’s PS5 version will also feature a cockpit mode. The PS5 version will be a free upgrade for anyone who already owns the game on PS4.

Check out a trailer showing the game’s PS5 version in action below. For now, there’s no announcement regarding an Xbox Series X/S version of the game.

Last year, Ion Lands also released a sequel-sized DLC for Cloudpunk, titled City of Ghosts. The DLC is only available on PC, with no word yet on when (or if) it will launch for other platforms as well.

In our review of Cloudpunk, we awarded it a score of 7/10, saying, “Cloudpunk reaches higher and achieves more than I thought it would, barely missing a spot among the giants of its genre.” You can read the full review through here.

Cloudpunk is currently available on PS4, Xbox One, Nintendo Switch, and PC. Developer Ion Lands is currently also working on open world life sim Nivalis, which is set in the titular cyberpunk city that Cloudpunk also takes place in. Read more on that through here.

Developer Merge Games’ SMALLAND is also one such survival game that’s looking to be an extremely promising experience – one that could very well prove to be the next big surprise hit and reach atop the Steam charts. It looks to be a steaming pot of ideas taken from a multitude of varied inspirations – all of which could very well culminate in a tantalizing experience for fans of the genre.

SMALLAND is a multiplayer survival game set against a unique backdrop by the name of The Land of the Small – a place that’s inhabited by lilliputian creatures of various species. Of course, peace doesn’t last long – and the giants have once again seemingly descended from the skies above and now pose an ever-looming threat over these creatures. As a Vanguard, it’s your job to ensure your survival and secure a place for your allies in this hostile environment. It might be a pretty basic setup for a story, but the world itself is a bustling hub with what looks to be a rich history behind it. The developers have stated that The Land of the Small is a world with a hefty amount of lore, which should entice plenty of interested players to search the many nooks and crannies in search of secrets.

And what a world it’s looking to be. From lake-sized puddles of water to towering trees to the many arching blades of grass, SMALLAND boasts a grand sense of scale that you haven’t really seen anywhere else. Additionally, players will also come across many structures left behind by the long-gone giants who once inhabited this vast world that should be a stark contrast to the mostly natural make-up of this gargantuan map. The player character can also climb up trees and glide down majestically from these vantage points, which should give players plenty of opportunities to soak in the majestic environment that the game has to offer.

To probably no one’s surprise, most of the creatures that roam these wilds will be friendly to your presence. Players will be facing all sorts of threats spanning the entire food chain – including but not limited to spiders, ladybugs, flies, and more. You could choose to sneak past these encounters or use your weapons to slash or shoot down any foes that stand in your way to pieces. The developers have stated that players will also be able to tame some of these animals through siding with select factions or completing certain questlines which should help make exploration even more exciting than before.

The many denizens of The Land of the Smalls aren’t the only threats that you will face in SMALLAND, as the harsh and ever-changing environment will also be a similarly lethal threat to your existence – forcing you to quickly adapt to your surroundings. SMALLAND features a dynamically shifting season cycle, which will change the surrounding environment such as the colour of the leaves and survival conditions such as temperature. Additionally, enemy spawns and species density will also vary from season to season – so some creatures will be more abundant in one season than the other.

The gameplay will see players exploring the entirety of this gargantuan map and take up the many quests handed out by the NPCs that inhabit these worlds. Many of these quests boil down to collecting x amount of y resources or killing a number of a select enemy type, and these are meant to ease players into the hang of things before letting them loose in this sandbox to do whatever they wish to do. That said, completing these quests will be essential to progressing – as they are the only way you can earn the trust of the many factions that inhabit the various settlements in the game. Doing so will net you rare resources and higher-level gear that would prove essential in surviving through late-game challenges.

Much like most survival games, crafting remains an essential pillar of SMALLAND‘s core gameplay loop. Players are free to craft a ton of weapons such as the likes of swords, spears, bows, and armor using the many resources lying throughout the world and the loot from defeated monsters. Crafting these higher tiers of weapons and gear is an essential part of progression, as the added power will gradually open up the entire map for exploration. Additionally, players can also construct entire structures like houses and camps that can be used as a base of operations for exploration.

You can rest safely in the confines of these structures, use storage lockers to store important resources for the future, or even use crafting tables to repair, upgrade, or make new equipment. Developer Merge Games has said that it wants players to have a sense of personal expression through the game’s crafting systems, and as such – players will have a ton of options in how they choose to craft their dream home and decorate it with quest trophies and whatnot.

Co-op is yet another important part of the SMALLAND experience, allowing players to invite a buddy for added manpower to take on the tougher challenges of the game. We don’t know how the game will scale with regards to the number of players, but fans should expect to have a challenging experience either way. Merge Games has also stated that there will be some PvP elements in the game as well, although it isn’t known how that will pan out in the final game.

On the topic of release date, SMALLAND was supposed to release sometime last year but was, understandably enough, delayed to this year due to the COVID-19 pandemic. The developer has already hosted a closed beta test for the game, so it does seem somewhat likely that SMALLAND will indeed make it out in time for this year. It’s currently in development for PC only, but it wouldn’t be surprising if Merge Games decides to port the game to consoles if it garners substantial popularity further down the line.

In closing, Merge Games’ upcoming game has enough differentiating factors for it to stand on its own two feet. Here’s hoping it ends up being worthy of all the hype and anticipation, and becomes the next big breakout Steam hit.

Note: The views expressed in this article are those of the author and do not necessarily represent the views of, and should not be attributed to, GamingBolt as an organization.

Based on the choices one makes, new avenues and routes open up. You’ll encounter different characters, some friendly and others hostile; uncover a bunch of secrets and learn more about the authoritarian forces governing the nation; and much more. Perhaps you’ll even change the world.

The title boasts a “thousand” different roads to travel, though some familiar characters may pop up from time to time. Also, regardless of your decisions, the story will continue and who knows what could happen next? Along with digital releases, physical editions for PS4, PS5, Xbox Series X/S and Xbox One will be distributed by Merge Games. Stay tuned for more details on the same in the coming months.

Right out the gate, Aragami 2 knows what it wants to be in terms of its gameplay to enhance the positives of what the genre is known for.  A stealth game lives or dies by the quality of the gameplay systems and thankfully, this is done right. Something I always find very important in stealth games is the UI, and what the player is allowed to see. Enemy awareness markers are always visible when they suspect you and are either above their heads or on the end of the screen when off camera. Holding the left trigger activates a limited sight that allows you to see through walls and mark enemies as well as get a general idea of where the objective of the mission is. Another important element of the interface is linked to one of the first traversal tools to learn that is the bread and butter of movement. Teleporting by pressing the right trigger allows you to teleport from ledge to ledge, but only if you’re close enough to that ledge or platform. The circle is small, but will turn blue which allows a jump. From there, enemies can be killed or knocked out from ledges as well, adding just a bit more depth to how to interact with the environment.

"Aragami 2 knows what it wants to be in terms of its gameplay to enhance the positives of what the genre is known for."

Traversal is vastly improved from the first Aragami. Teleportation and dashing are done with ease, and hanging from ledges or fences is a very simple but welcome addition. All of this comes together to make this stealth game a breeze to control, albeit within the limitations of a stamina bar. There is never enough stamina to repeatedly teleport over and over but the regeneration is very fair so you’re never out for too long.

The overall art aesthetic is very clean. The palette is very muted and appealing to the eye.  Even though the artwork has a very smooth look, there is a good balance in texture detail to where it doesn’t seem bland like Lince Works’ previous venture. Your own Aragami avatar can be customized with cosmetic armor that provides a needed splash to create a unique flair. One of my favorite aspects of Aragami’s visual language is how the game shows if you are detectible or not. Crouching in a shadow, on a high ledge or in the stereotypical tall grass, you are undetectable. This is indicated by the character model turning black with white outlines. It’s a nice visual cue in case shadows aren’t clear; especially in nighttime settings like what’s commonly seen in Aragami. The PC version runs very well and has a good amount of graphical customizability. Lighting and shadows can be tweaked as well as resolution scaling and a reasonable amount of anti-aliasing customization.

Early on when starting to learn the game, one of the most aggravating ways I got surrounded was when whispering to lure enemies. The range is so large to where I often lure two or more enemies at once which prompted me to leave the scene. Singling out enemies is very difficult in most stealth titles and having a button to lure enemies is a great basic tool. It just feels like it’s use is very discouraged here. This issue aside, there is an ability that is able to be learned very early into the game that allows enemy search patterns to be seen. Even still, in a game that stations multiple enemies with their own overlapping patrol paths and sight lines, I just wish dividing enemies was easier.

"The overall art aesthetic is very clean. The palette is very muted and appealing to the eye.  Even though the artwork has a very smooth look, there is a good balance in texture detail to where it doesn’t seem bland like Lince Works’ previous venture."

Unfortunately, the melee combat falls short. This is really hard to nail due to the fact that giving the player more tools for combat means that fighting becomes more comfortable and encouraged. This is something really hard to work around but the sequel is still an improvement over the first title since the tutorials make it clear that combat should not be a focus; but only as a last resort. The health bar isn’t very high and doesn’t refill automatically to enforce this statement. In the previous game, one hit meant death so here there is a chance to escape and come back, or narrowly achieve victory. Attacking and dodging is fluid and the camera does well to track the target being locked on to, but I had trouble adjusting to the timing for blocking and especially parrying.

Aragami 2 like its predecessor isn’t really meant to be played for the story, especially since the missions are “go here and collect the thing or kill the target” as you’d expect. As a newly introduced member of the Aragami. Taking place one hundred years after the first game, the goal is to protect a village and fight alongside the remaining members of the clan. So while the light narrative and motivations end up being a cut above set dressing, multiplayer, or at least the prospect of multiplayer is. Each mission is selectable from a board, and each mission requires all players to ready up before departure akin to other mission based multiplayer titles. We were not able to test this for review, so server stability or ease of use cannot be commented on. There is no server selection from what can be seen, but you may join or create public and private lobbies. For now, whether or not the netcode is worthwhile is up in the air.

Something to note is while the map size in missions compliments a co-op mentality nicely this time around, I never felt like I absolutely needed someone else with me to complete objectives, but the help would’ve been nice since the level layouts incentivize cooperative play. Having more players makes the missions more manageable since the maps are designed with multiple pathways to an objective, but the design of each sometimes felt too daunting of a task for one person. However, after some trial and error in the earlier hours, it’s easy to understand how to navigate each mission with enough patience.

"The PC version runs very well and has a good amount of graphical customizability."

At the end of a mission, XP and Gold are rewarded. Performance is graded with metrics like time, and how the hostiles were or were not dealt with, and collectibles gathered. Replaying missions is optional and it’s good to go back in to find secrets, equipment blueprints and grab some extra coin, but rewards for finishing a level more than once are drastically reduced. One other benefit to multiplayer is that since there is gold scattered around, it takes less time to sweep the area with multiple players. Gold and skill points gained from leveling up are spent in a village hub. There, you can acquire passive and active skills and equipment like Kunai. Blueprints are also available to collect, allowing for more equipment.

Aragami 2 has some satisfying stealth challenges available to take on solo or with other players. The visuals are a major step above the original. Enemy placement and AI make it hard to separate them, but the suite of visual cues help to better understand how many foes there are, and what their path is to plan a route. Movement is very brisk and with a skill tree that has a lot of variety, there’s no denying there is a feeling of gratification clearing a mission where you escape by the skin of your teeth.

This game was reviewed on PC.

The setup to Foreclosed’s story is intriguing enough. In a dystopian cyberpunk futuristic world, you are Evan Kapnos, a man whose identity has been foreclosed by the megacorporation that controls them, allowing for his identity and his brain implants to be auctioned off to the highest bidder. Upon receiving this information, Evan sets out to figure out the reasons behind his foreclosure and how he can stop it, and over the course of the 3-4 hour campaign, there are a handful of twists and turns that shake up the narrative, including two major choices that branch the story.

"Take out its interesting style and it’s an underbaked and unbalanced cyberpunk shooter whose best ideas drown underneath a generic story and uninspired gameplay."

Once you get beyond the setup, though, Foreclosed becomes a highly generic cyberpunk story that doesn’t really present any interesting or fresh ideas. There are only a couple moments that truly play into the idea of the identity foreclosure, moments that the game will not let you forget, but otherwise it seems to strip ideas from every other dystopian cyberpunk future without much of what makes them interesting. The villains, especially the megacorporation at the center of the conspiracy, are cartoonishly evil. It feels almost like the game assumes that you know the corporation is evil just because it tells you that it’s a megacorporation without actually giving a reason behind it or any real motivation. There are other factors at play, including explanations behind your brain implants, but even with someone from the company at your side for most of the way, it feels very underbaked, like there are so many things going on that none of them have a chance to breathe over the course of just a few hours.

When explanations are given, Foreclosed defaults to a highly tell-over-show approach that can get old quickly. I never really felt like I had figured anything out or, more importantly, had really engaged in the story. Instead, conclusions, if not explicitly told to you or said aloud by the main character, are explained in such broad daylight that it doesn’t feel like there’s much of a build-up. It doesn’t help that the writing and voice acting are woefully average, if not downright painful at points. Evan’s voicing is pulled straight from the generic cyberpunk playbook, and some lines, even when put into the comic book format, are eye-rollingly cheesy.

The comic book aesthetic really is the saving grace of the entire package. Alongside the art style that mimics the color palette and shading comics are known for, story beats are often told in authentic comic panels, and some of the weaker elements of the story can be forgiven knowing the inspiration and homages it’s making. In gameplay, too, the comic book elements are some of the most interesting. The screen splits into panels often seamlessly and gives you an interesting change of perspective in sections that are usually story-heavy and combat-free. Even if they’re just a small part of the package, these segments are easily the most memorable pieces of the puzzle, at least on the positive side.

"It doesn’t help that the writing and voice acting are woefully average, if not downright painful at points. Evan’s voicing is pulled straight from the generic cyberpunk playbook, and some lines, even when put into the comic book format, are eye-rollingly cheesy."

It’s when Foreclosed turns from its panel aesthetic to its third-person perspective that it loses me, and unfortunately, it’s in third-person for about 95% of the game. For the most part, Foreclosed is a third-person shooter with the most surface-level RPG elements at play. As you gain experience points, you can unlock abilities that enhance either your brain implants, allowing you to do things like shield yourself or lift an enemy off the ground, or your gun, making your bullets explosive or shield-piercing. There are also a few automatically-unlocked abilities, like stealth killing and telekinesis, that are required in certain areas of the campaign.

Just the act of playing the game as a third-person shooter is frustrating in a lot of ways. Aiming is stiff and imprecise and made exponentially worse by the near-requirement for headshots to kill enemies. Most enemies are killed with just a single headshot, but some dudes can take upwards of a dozen shots to the body, especially frustrating when someone is standing right in front of you or there’s an enemy swarm approaching. This makes it less of an activity in becoming better at the mechanics and more of a game of finding exploits.

But the ultimate problem with Foreclosed’s gameplay is its utter lack of balance across the board. Its difficulty doesn’t spike as much as it becomes a brick wall. More than a couple times in just a few hours was I stuck on a combat encounter because of either the sheer number of enemies or their deadeye aim across the map, almost to the point of being literally spawn-killed on a couple occasions. The pendulum swings the other way, though, when you start to unlock your abilities, specifically the two instant kill abilities. Combat flips from being frustratingly difficult to laughably easy in almost literally the blink of an eye. This isn’t the case of learning how to play the game and mastering its abilities; these abilities feel like cheat codes that make the game not only much easier, but considerably less engaging. Sure, they’re fun to see for the first few times, but it’s the gameplay version of telling over showing: I gained the ability to barrel through a herd of enemies, but I never actually felt like I needed to improve at the game’s basic mechanics. There are a couple moments near the end that feel like they pull everything together, if only briefly, but I can only wonder where that combination of mechanics is during the rest of the game.

"Just the act of playing the game as a third-person shooter is frustrating in a lot of ways. Aiming is stiff and imprecise and made exponentially worse by the near-requirement for headshots to kill enemies. Most enemies are killed with just a single headshot, but some dudes can take upwards of a dozen shots to the body, especially frustrating when someone is standing right in front of you or there’s an enemy swarm approaching."

The balance issues extend into gameplay styles, too. You’re introduced early to a stealth kill option, implying that you’ll have some stealth sections later on or maybe some stealth skills to improve. Neither of these is true. From then on, I used stealth a total of maybe 4-5 times, and I was even inexplicably restricted from using it on a few occasions. The only sections that embody stealth remove any enemy takedowns and kill you if you’re spotted at all, which isn’t helped by some unintuitive level design. You’re also given the ability to hack certain items, which is usually a cool or at least thought-provoking mechanic in most games, but hacking in Foreclosed is done by pressing four buttons in a row that pop up from a distance and have no consequences if you mess up. It’s not hacking so much as it’s a glorified quick-time event and is about as unsatisfying as it gets.

Foreclosed feels like it started with a couple good ideas, like its comic book aesthetic and identity foreclosure, but once those are introduced, it tries to coast off of them instead of building on them. The gameplay moments presented in comic panels are cool but underutilized, and the story’s themes are not only incredibly foreseeable but also don’t play up the best parts of the concept. What comes together is a highly underwhelming setting and story and unbalanced gameplay that never finds its footing, making Foreclosed feel like a case study in untapped potential that’s more frustrating to get through than it’s worth.

This game was reviewed on the PlayStation 4.

Correction: it’s getting another physical release later this year. Unlike the first one, which was handled by Limited Run Games, this one is being done in collaboration with Merge Games, and will include physical versions only for PS4 and Nintendo Switch. There’s no word yet on whether a physical release for Xbox One is planned as well. The physical release is set for September 24, and it’s going to include the base game and the Mr. X Nightmare DLC.

Streets of Rage 4 is available on PS4, Xbox One, Nintendo Switch, and PC. Mr. X Nightmare arrives on July 15, and will cost $7.99.

Iconic beat 'em up #StreetsofRage4 is back with an awesome Anniversary Edition, including Mr X Nightmare DLC & a jam-packed survival mode.

Coming to #PS4 & #NintendoSwitch on September 24th! pic.twitter.com/1dBVv1peLl

— Merge Games (@MergeGamesLtd) July 1, 2021

The trailer shows off several of the game’s modes. Retro Mode will allows players to play the original game as it was, in a recreation of the original’s style, and can be accessed with the press of a button at any time. Infinite Lives Mode does what it says, offering the player infinite lives and a way to beat the game to anyone struggling with its difficulty. Boss Rush Mode will allow players to experience nonstop rock, paper, scissors action against the game’s bosses.

Alex Kidd in Miracle World DX releases today for PlayStation 5, Xbox Series X|S, PlayStation 4, Xbox One, Switch, and PC via Steam and the Epic Games Store.

The trailer is very cute, but it does a good job of showing off the game’s environments, potential hazards, enemies, and shop system. It also shows off the Classic Mode, which will allow players to “experience the original game with boss fights, dialogue, levels and functions the same as the original Master System version.”

In addition, Alex Kidd in Miracle World DX will feature new levels, tighter controls, new and remastered music tracks, alternative boss fights, and a Boss Rush mode. Alex Kidd in Miracle World DX is will release for PS5, Xbox Series X|S, PS4, Xbox One, Switch, and PC on June 22.

You can watch the “Greetings From Miracle World” trailer below: