77p egg: Eggwife

I went in fully expecting to bounce off this one within ten minutes. A stick figure. Sheffield. Sentient sewage. The whole pitch reads like a dare someone lost. But somewhere between the PISSTOL - a handgun you reload by urinating into it - and the seven-barrelled shotgun that fires literal excrement, something clicked that I did not expect: this is a game made with real care, operating at a frequency most people have had socially conditioned out of them. Eggwife runs across ten story levels set in and underneath the fictional city of Sheffie, and each one finds a new way to escalate the absurdity without fully repeating itself. What starts as an apartment tutorial with zero combat eventually sprawls into supermarket infiltrations, arena fights against gelatinous urine blobs and nail-laced tampon helicopters, a driving section, and a milk-worshipping cult that takes itself precisely as seriously as a milk-worshipping cult should. The level variety is real - this is not one joke stretched thin across a campaign. There is also an arena mode with roguelike elements, and a difficulty setting called Dysfunction that randomises the level code and can result in either a softlock nightmare or a completion in thirty seconds. That mode is either brilliant or broken depending on your tolerance for chaos, and the game knows it. The weapons deserve their own paragraph. Each one follows a design logic the developers seem to have arrived at by asking only one question: how can we make this fun? The milk minigun, the toilet-detergent auto-cannon with passive damage, the alt-fire on almost every weapon that trades ammo economy for higher burst damage - all of these function better than they have any right to. The movement is built around a double jump powered by mid-air defecation, which is exactly as ridiculous as it sounds and also a smart fit for the significant platforming sections scattered throughout. The soundtrack, credited to General Mumble and collaborators, is genuinely good in a way that keeps catching you off guard. Not "good for a toilet humour game." Actually good. Where critics split is worth flagging honestly. Some reviewers found the combat shallow - enemies largely walk toward you and the level geometry does not always create interesting fight spaces. On harder difficulties there are occasional spikes from checkpoint placement rather than from intelligent design. The car sequence near the end is functional but not a highlight. And the story ends on a cliffhanger that feels abrupt for a five-hour game releasing as a finished product rather than episodic content. If you come for tight boomer-shooter gunplay in the vein of DUSK or Amid Evil, this is not that. If you come for the surreal comedy of Goat Simulator crossed with the shameless edge of Postal 2 but with a warmer, prouder energy rather than an edgelord one, you will probably find something that sticks with you. The Steam community has been warm on it - over ninety percent positive from hundreds of reviews - and I think that number reflects something real. Eggwife commits to its absurdity with a cheerfulness that stops it from feeling mean-spirited. It is the handcraft underneath the filth that I keep coming back to mentally: the small interactive details buried in levels, the weapons that prioritise feel over logic, the soundtrack that nobody asked to be this good. For a certain kind of player, this is exactly the five-hour session game you want on a Friday night when you need the world to stop making sense for a while. Kai, Scout Team