Break the Game

Simply put.. it's a bad game and a waste of time and money. You'll have more fun staring at a wall.

This game was just bs. The gameplay was easy and very boring plattforming, for 5 minutes until someone or something starts talking to you. Again and again. Its so much bla bla bla all the time, you don't even get to play really. I gave it another shot and couldn't make it to the end, because its that boring just listeing to some story ALL THE TIME. I wanted to play a game, not read a book...

Half Thomas Was Alone, one-third There Is No Game, and a little Undertale thrown in... but ALL awesome, with a great (albeit unoriginal) soundtrack, interesting characters (Satan was my favorite), lots of groovy firearms and McGuffins to collect, and some super-fun thought-provoking existential dread! Short and silly in places, but definitely underrated and... What's that? You say you don't find existential dread particularly thought-provoking or fun? Oh well... sorry, Kevin, I tried...

I liked this game. I really did. I was immersed in it, I was happy, I was sad, and it had a LOT of funny moments... but then the game kept going... and going... it felt like it just was never going to end... Boring dialogue, loooong, unskippable scenes... Then, I finally got to the ending. When all was said and done, I felt empty, and tired. The game lost all meaning, and my play time lost all meaning. I will only remember this game for its insulting ending, and the Jontron song,

The gameplay is fine and the story is cute, but my god the cut scenes are horrifically slow, unskippable, and the dialogue feels like it's written by some lolz random millennial stuck in 2007-era internet. There's no real reason to play this, but if you for whatever reason are compelled to do so, I highly recommend getting it when it's on sale. It's not worth the money otherwise

[h1]It just didn't leave an impact on me. If it does for you, that's great, honestly.[/h1] It's pretty slow, and meandering for no real reason other than forced comedy, and it didn't work for me. The combat is very clunky on controller, which I for some reason decided to put up with before I realised towards the end of the game that mouse and keyboard controls feel much better. This, however, did not help with the overall slow pace of the platforming. The story is also really weirdly paced, and doesn't ultimately do much in respect to other aspects of the game with the "breaking out of the game" theme its going for. Combine that with the aforementioned slowness of gameplay, cutscenes, and dialogue, and it becomes a slog, even with fast forward enabled. The ending [spoiler]wound up being completely anticlimactic, and boring, unless there is a true ending somewhere I missed, but I doubt it, since I went as far as to get all achievements to see if there was anything of note.[/spoiler] One thing I did like, however, was the music. It goes unnecessarily hard. It's not life-changing, but it's quite well produced, and varied, especially in comparison to the rest of the game. I wish it were available for purchase, or streaming.

Break the Game, developed and published by Simon Fredholm, is an unconventional indie experience that deliberately blurs the boundary between player, character, and game itself. From the very beginning, it makes clear that this is not a traditional adventure or platformer meant to be consumed passively. Instead, it presents itself as a self-aware, often chaotic conversation between the game and the person playing it, centered around a character named Kevin who claims to be trapped inside the game world. This premise immediately sets a strange and intimate tone, inviting the player into a narrative that constantly questions agency, control, and the nature of interaction in video games. At its core, the game combines light platforming and shooter mechanics with heavy narrative emphasis. Movement and shooting are straightforward and responsive, allowing players to navigate levels without frustration, but these mechanics are rarely the main attraction. Rather than escalating difficulty or introducing complex systems, the game repeatedly pauses to address the player directly through dialogue, monologues, and fourth-wall breaks. Kevin frequently communicates his thoughts, anxieties, and frustrations, often in long, unskippable sequences that intentionally disrupt traditional pacing. This design choice reinforces the feeling of being stuck inside a game that refuses to behave normally, mirroring Kevin’s own predicament, but it can also test the player’s patience depending on their tolerance for extended narrative interruptions. The writing is the game’s strongest and most polarizing element. It oscillates between absurd humor, emotional vulnerability, and self-referential commentary on game design itself. Characters acknowledge tropes, criticize mechanics, and occasionally mock the player’s expectations, creating a tone that is both playful and unsettling. While some players may find the dialogue overly verbose or indulgent, others will appreciate how it creates a surprisingly strong emotional connection to otherwise simple, abstract characters. The game often succeeds in making Kevin feel less like a scripted avatar and more like a conscious entity struggling to be heard, which gives weight to even mundane interactions. Visually, Break the Game adopts a minimalist aesthetic built around basic geometric shapes, clean lines, and bold colors. On paper, the presentation seems extremely simple, but it is used effectively to convey emotion and personality. Text animation, timing, and placement play a major role in storytelling, with dialogue appearing in ways that reflect urgency, hesitation, or breakdowns in communication. The sparse environments and abstract characters help keep the focus on interaction and narrative rather than spectacle, reinforcing the idea that the game is more about conversation and reflection than visual immersion. Sound design and music are used sparingly but purposefully. Background audio supports the mood without dominating it, allowing silence and minimalism to heighten moments of tension or introspection. When music does appear, it tends to underscore emotional beats rather than gameplay milestones, further emphasizing the narrative-driven nature of the experience. This restrained approach complements the game’s pacing, though some players may wish for more auditory variety during longer play sessions. Despite its creativity, the game is not without notable shortcomings. Combat and platforming remain relatively shallow throughout, and players seeking mechanical depth or evolving gameplay systems may feel underwhelmed. The overall experience is also fairly short, and replay value is limited once the narrative has been fully experienced. Certain design decisions, such as unconventional save management or intentionally awkward interactions, can feel more irritating than clever, especially for players who prefer smoother, more traditional usability. Ultimately, Break the Game is a title that succeeds not by refinement or breadth, but by commitment to its concept. It is unapologetically strange, heavily narrative-focused, and willing to alienate some players in pursuit of a distinctive voice. For those who enjoy experimental storytelling, meta-commentary, and games that actively challenge the relationship between player and software, it offers a memorable and often thought-provoking journey. For others, its verbosity and limited mechanical ambition may feel exhausting. Either way, Break the Game stands as a bold indie experiment that prioritizes expression and self-awareness over convention, leaving a lasting impression precisely because it refuses to behave like a normal game. Rating: 7/10

Up with Red Dead Redemption 2 in terms of story-telling!

A fun sequel to "Escape the game" If you can't find it, it may have been geoblocked in your region.