Roguelight is a fun little game you should get for as little as you like. You play an archer descending through a randomly generated 2D dungeon, guided by the light from your limited quiver of arrows. As you go deeper, the environmental lights become fewer, the flaming tips of your arrows extinguish more quickly and enemies and traps become more frequent. It’s a simple, challenging premise very similar to Spelunky’s excellent dark levels, held together by a well-designed bow with thoughtful environments surrounding it.
Dishonored’s DLC ‘The Knife of Dunwall’ has three missions. The story concludes in the third mission, but by the end of the second the action has reached its climax. The infiltration of the Timsh Estate, which closes out that mission, should rightly be celebrated among the great stealth sections of all time and it is the greatest single section in Dishonored. Your objectives are simple enough: break into the estate, steal Arnold Timsh’s will and kill or otherwise incapacitate him. In a mission with otherwise merely serviceable level design, however, the Timsh Estate is an intricate, confined environment which is a delight to explore and sneak through. It is easily the highlight of the whole DLC and from a mechanical perspective it’s a better conclusion that the poor third mission (entitled ‘The Surge’). It tests the player’s knowledge of the mechanics introduced thus far and, especially at higher difficulties where simply cutting enemies to ribbons isn’t an option, succeeds at something Dishonored rarely even attempts: making the player feel vulnerable. Someone seeing Dishonored for the first time in ‘The Surge’ or missions like ‘High Overseer Campbell’ in the main game could be forgiven for thinking Dishonored was an adaption of Batman. The Timsh Estate, though, forbids player from lurking in rafters or easily picking off its guards and to its credit it makes for a more thoughtful, tense experience.