Macrotis: A Mother's Journey

I went into this one expecting a light, forgettable afternoon with a cute marsupial. What I found was something more quietly earnest than that, even if it never quite delivers on every promise it makes. Proud Dinosaurs, a small Turkish indie studio, spent close to two and a half years building this thing, and that handcraft shows in the art direction and the atmosphere long before the mechanics earn any goodwill. The setup is stripped down and affecting. Mother Bilby, the macrotis of the title, a real and critically endangered Australian marsupial, is swept underground by catastrophic flooding and must claw her way back to her children. The story unfolds through narrated storybook-style still frames and sparse in-game dialogue, and when it works, it genuinely tugs. The interaction between Bilby and a dying wizard whose soul merges with hers to grant magical abilities is the emotional spine of the four chapters, and the quieter moments between them carry a warmth that bigger-budget platformers rarely bother with. The orchestral score leans into that sorrow deliberately, the kind of soundtrack that does not demand your attention but earns it. Gameplay starts with the fundamentals: pushing and pulling blocks, biting through ropes, wall-jumping, adjusting water levels by submerging objects so logs float higher. It is tactile in the ways classic puzzle-platformers are, and the early chapters do a decent job of introducing one mechanic at a time before combining them. The standout addition arrives mid-game when Bilby gains the ability to project her astral self, a weightless spirit form that phases through walls, treads on fragile platforms her body cannot support, and flips switches out of reach. The range of that projection expands as you progress, and the puzzles built around splitting your attention between physical body and spirit duplicate are the game's most original moments. A later wall-creation ability adds another layer, though reviewers have noted it behaves inconsistently depending on surface type, which can interrupt the logic of otherwise well-constructed rooms. The cracks are real, and worth knowing about before you spend an evening here. Controls carry a slightly floaty, imprecise quality that becomes genuinely frustrating during the timed sequences scattered across later chapters. Every puzzle has exactly one intended solution, and the reset button is your constant companion, the game includes it in the default controls for good reason. Block physics occasionally misbehave, sending objects in directions the puzzle never intended, which can strand you in states that require a reset without being obviously your fault. The voice acting has divided reviewers sharply, with some finding it naturalistic and others finding Bilby's constant self-narration grating enough to mute entirely. The collectible lore items scattered through levels are a nice touch, but they have no effect on the ending, which undercuts the incentive to hunt them. For a player like me who values intentional pacing and a studio that clearly cared about the thing it was making, this one sits in an honest middle ground. It knows how long it should be, three to four hours, no filler, and it ends when it needs to. The visual design in the earlier cave sections glows with vivid, confident color choices that taper off in the back half, which is a shame. But the core of the experience, an endangered animal mother trying to get home, rendered with hand-crafted warmth and a melancholy score, is worth more than its rough edges cost it. Puzzle-platformer veterans may find it too simple and too imprecise in the same breath. Casual players who want something with a heartbeat and a defined ending will find more to like. Kai, Scout Team

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