83 Sentences With "replayable" | Random Sentence Generator

It's easy to pick up, infinitely replayable, and visually iconic.

It's not quite as replayable as it first seems, however.

Each replayable video snippet is between 10 and 60 seconds.

The games are universally clever, easy to learn, and very replayable.

" It also features replayable stuff like "NBA 2K20" and "Tekken 7.

Like most sports or fighting games Lethal League Blaze is essentially infinitely replayable.

That's one reason it's so replayable without benefit of notable groove or tune.

More of a platform, Jackbox offers six "party packs," each containing hilarious and endlessly replayable microgames.

All the story missions — which are replayable — are there, and they're joined by other activities as well.

It is music meant to soundtrack $10 bottles of red wine, but "New Light" is endlessly replayable.

The new platformer promises to offer endlessly replayable levels that increase in difficulty each time you beat it.

Blade Runner isn't a particularly long or difficult game, but it's far more replayable than most of its kind.

Branching paths and multiple endings made it replayable, but repeat viewings lessened the tension and exposed the game's flaws.

Impossible moments that had been lost forever are now captured forever, replayable forever, and seeable from dozens of possible angles.

Each stage is designed to be replayable, so you can go back later and search for hidden items or earn more coins.

A month later, at the Game Developers Conference in San Francisco, Levine discussed his desire to create endlessly replayable, story-driven games.

Tentenko's first solo release outside of Japan is one of the most inventive, replayable, and mercurial pop records I've heard so far this year.

This is partly about making a rather short stealth game more replayable, but it has more to do with how we think about cults and radicalism.

Also, today Facebook announced Instagram Live is rolling out to everyone in the U.S., with videos that always disappear to differentiate from replayable Facebook Live clips.

In place of procgen characters and expansive research trees, Into the Breach offered the clarity of a board game and the short, replayable sessions of a roguelike.

We Happy Few was envisioned as a short but replayable survival game with "light" narrative elements dropped in, but primarily about managing health, energy, and other resources.

Outside of Battlezone, which has a major online competitive mode, and the puzzle titles, which are replayable by nature, none of the games I played had much lasting value.

Here's how the gameplay looks, which also showcases the tweaked art style: In addition to story missions, there are co-op missions that are meant to be infinitely replayable.

It's a frustration he's still trying to work out: His next project is something he's dubbed "Narrative Legos" — an attempt to make a story-based game that is infinitely replayable.

Mario Odyssey—with its hundreds of tiny secrets and replayable level design—seems as if it'd be a completionist nightmare but collecting all the moons is actually fun and well designed.

In the days of $1 smartphone games, $70 can seem like a tough pill to swallow, but as with just about every other Mario title, Maker 2 is an immensely replayable game.

Put out a Blast Corps with the event structure of Burnout Paradise, the open map of a Grand Theft Auto, the replayable challenges of Hitman, and the joyous incendiary potential of Just Cause 3.

It'll be out on both the Xbox One and PC. —AW The infinitely replayable Spelunky was arguably one of the most influential games of the past decade, with randomly generated levels full of secrets to uncover.

What's compelling about these stats is that they address the growing need to produce quality and engaging "replayable" content, and staff the various startups and companies that will need a lot of talent to make it happen.

He's already made one of the best albums of 2017 in American Teen, turned up alongside Future on the increasingly replayable Calvin Harris cut "Rollin," and shown a terrifying amount of potential that could take him just about anywhere.

If you haven't played any of the previous Devil May Cry installments, just know that you get to choose one of three main characters to fight back a demonic invasion, which also makes the game replayable with their different fighting styles.

It's obviously much more difficult for Jam City to create compelling story content for Harry Potter that players will quickly consume than it is for the far more replayable Fortnite to add a few new skins and call it a day.

Opening track "It's All Good" is empowering (things are, after all, good), curiously sublime, slightly left-field but also not so deep in the woods it can't be tied up with a deliriously uplifting chorus befitting any replayable pop song.

Pitched on Kickstarter (where it made over eight times its target figure) as a "replayable Metroidvania" in the action-horror genre, you're cast as Eshe, who's trapped in some sort of demonic world overrun with menacing enemies and corrupting energy.

The Republican majority, hoping to salvage Mr. Kavanaugh's nomination, handed off Dr. Blasey's questioning to Rachel Mitchell, a sex-crimes prosecutor from Arizona, to avoid the replayable video clips of 11 white men grilling a woman — a sort of XX-chromosome optics shield.

The game's serene setting and blissed out music make Alto's Adventure eminently replayable, even if you've already sunk tens of hours into lengthening your scarf in an infinite procedurally generated snowy world dotted with charming villages, dramatic slopes and many, many things to trip over.

There are also Warzone levels, where players can choose any hero in their roster and play either solo or online with friends, which offers more of a focus on gaining resources and gear; or, to borrow a Destiny analogy again, if the Hero Missions are Destiny's story-focused campaign levels, Warzone maps are the more replayable Strikes.

I've only managed one-on-one sessions so far—if someone wants to come by with another couple of Joy-Cons, so we can go all-four-in, please do (the game supports up to eight Joy-Cons, locally)—but even reduced to a two-player experience, Super Bomberman R's eminently replayable appeal is obvious, just as it was two decades plus ago.

But well past a dozen engaging passes I still can't guarantee how replayable they'll eventually prove, which I wouldn't say of five of the remaining six tracks, in particular two heart songs: the multivocal, jam-packed, basic-sounding 3:55-minute tour de force "Lost Without You," in which a frightened old man eavesdrops on a conversation between his kids and his dying wife, and the made-for-TV "She Chose Me," which my wife and I certified as a great pop song by feeling it personally and individually even though it's autobiographical for neither of us.

Some games have been designed to be replayable with refill packs or non-permanent stickers while others are still playable with the final permanent changes once the campaign is over. Other games have focused on the campaign-style aspect while forgoing permanent changes.Rob Daviau (2017), 49:50.

The most recent release of Proto.io was launched in July 2016. The entire interface was redesigned, making the most used tools easily accessible to users. Additionally, animations became for the first time replayable directly on the editor, making it easier to finalize the motion design process.

Plowing Into the Field of Love received positive reviews from critics, achieving a 76/100 on Metacritic based on 21 reviews, indicating "generally favourable reviews". Kyle Greco of Smash Cut Reviews gave the album a positive review calling it "one of the more inventive and replayable punk records of the year." He gave the album a score of 8.8/10.

The studio also intends to keep building their own internal properties, saying "We don't plan to reinvent the genres for the games we're making, but we want to create some very tight, well-crafted love letters to these particular genres that we think will be fun and enjoyable and replayable for folks." Creighton left Panic Button in May 2019 to form his own studio, Enduring Games.

Eric Torres of Pitchfork called the song an "ecstatic, endlessly replayable tribute to the depths of Lizzo’s dating pool." Chris Thomas writing for Out called the song the "spiritual companion to Charli XCX's earworm track of the same name"; the two would later collaborate in 2019 on the song "Blame It on Your Love". Justin Myers, writing for the Official Charts Company, called the song "attitude-packed".

On May 4, VioletUnderground.com launched, with Violet asking players to help her locate a leak in her new apartment building. This began the first, non-replayable, 'episode' of Perplex City Stories. Through the new site's sections and posts following the solution of the puzzle, Violet revealed that, after her theft of The Receda Cube, many people sent her death threats, and she was forced to relocate to a new apartment building.

GamePro stated that "the intricacy and suspense make the brainwork rewarding (and replayable, too, with six endings)." Shawn Smith of Electronic Gaming Monthly commented, "Sentient gets some major points for originality. I've never played a game with so many different possibilities." Dan Hsu and Crispin Boyer felt that the pace was too slow and would be unappealing to many gamers, while Sushi-X shared Smith's more positive assessment.

Nonetheless, Italian publication The Games Machine rated the game 88%, describing it as a modern re-invention of Spacewar! with many entertaining artistic details. Also in Italy, Videogame & Computer World praised the game's unique animations and replayable arcade mode, giving a rating of 8/10 on the PC, 8/10 on the Commodore 64, and 9/10 on the Amiga. In France, Joystick rated the game 75%, with strongest praise for the game's sound design.

He also wrote that several titles for the NES, such as Yo! Noid (1990), Silver Surfer (1990) and Teenage Mutant Ninja Turtles (1989) garnered their Nintendo Hard difficulty "for all the wrong reasons." Journalist Michael Enger did not qualify titles with challenges that came from poorly-done gameplay as "Nintendo Hard"; he wrote that only games that were well made and replayable but were still extremely hard were classifiable under the label.Enger, Michael (February 8, 2011).

In each campaign the player is involved in a linear story with which they interact by performing a series of primary quests and replayable missions. Quests are given to a player by NPCs via text dialog. As quests and missions are completed, new areas, new quests, and new missions are unlocked for the player's character to access. Missions allow the player character to participate in the major events of the storyline, such as significant battles against the main antagonist.

In 2015 Storm in a Teacup developed ENKI, a first-person horror adventure, featuring multiple endings that provides gamers with a replayable gaming experience. The game was developed with Unreal Engine and published on Steam. Lantern is the third product of Storm in a Teacup, it aimed virtual reality market thanks to the technology of Oculus Rift and HTC Vive, maintaining a PC gaming experience without virtual reality. It was published by 1C Company on Steam in November 2016.

Shell Control Box (SCB) is a network security appliance that controls privileged access to remote IT systems, records activities in replayable audit trails, and prevents malicious actions. For example, it records as a system administrator updates a file server or a third-party network operator configures a router. The recorded audit trails can be replayed like a movie to review the events as they occurred. The content of the audit trails is indexed to make searching for events and automatic reporting possible.

No "hidden" paragraphs ae > involved as with so many other solitaire games; the game is replayable again > and again. From Riding the Express: An Introduction to Tokyo Express by > Jonathan Southard, Volume 25, Number 4, The General Magazine. One disadvantage of solitaire games is that the player has few checks and balances on his understanding of the game rules. Given a lack of shared experience with a human opponent who is using and required to understand the same game rules, misinterpretations are more possible.

Replayable CCA security (RCCA security) is a security notion in cryptography that relaxes the older notion of Security against Chosen-Ciphertext Attack (CCA, more precisely adaptive security notion CCA2): all CCA-secure systems are RCCA secure but the converse is not true. The claim is that for a lot of use cases, CCA is too strong and RCCA suffices.Ran Canetti, Hugo Krawczyk, Jesper B. Nielsen, Relaxing Chosen-Ciphertext Security. 2003 eprint archive Nowadays a certain amount of cryptographic scheme are proved RCCA-secure instead of CCA secure.

Particularly in the application of procedural generation with video games, which are intended to be highly replayable, there are concerns that procedural systems can generate infinite numbers of worlds to explore, but without sufficient human guidance and rules to guide these, the result becomes "procedural oatmeal", a term coined by writer Kate Compton, in that while it is possible to mathematically generate thousands of bowls of oatmeal with procedural generation, they will be perceived to be the same by the user, and lack the notion of perceived uniqueness that a procedural system should aim for.

From A Travel > Guide to St. Nazaire: Your Very First Raid by Bob Proctor, Volume 24, Number > 4, The General Magazine. A drawback of solitaire game systems is the balance between immersion and replayability. Ambush! has much more detail in its game system, but also relies heavily on surprise, and hence replayability of individual missions is low. Other games like Tokyo Express or B-17 are infinitely replayable, but because of the dice-driven effects and opponent activation, the game is less immersive and does not sustain the average gamer's interest as long.

A version for the Stadia streaming platform was released in April 2020. Battlegrounds is one of the best-selling and most-played video games of all time. The game has sold over 70million copies on personal computers and game consoles , in addition to PUBG Mobile accumulating downloads and grossing over on mobile devices. Battlegrounds received positive reviews from critics, who found that while the game had some technical flaws, it presented new types of gameplay that could be easily approached by players of any skill level and was highly replayable.

The reels were heavy and expensive and the steel tape has been described as being like a travelling razor blade. The tape was liable to snap, particularly at joins, which at 1.5 metres/second could rapidly cover the floor with loops of the sharp-edged tape. Rewinding was done at twice the speed of the recording. However, despite all this, the ability to make replayable recordings was extremely useful, and even with subsequent methods coming into use (direct-cut discs and Philips-Miller optical film) the Marconi-Stilles remained in use until the late 1940s.

WiiWare World felt the game was a safe adaptation of the card game and appreciated the inclusion of online play, though they were left unimpressed by the basic presentation.WiiWare World review IGN called it a no-frills, run-of-the-mill adaptation, and felt that its presentation was "unbelievably ghetto" and the graphics "ugly even for a Nintendo 64 game".IGN review Wiiloveit.com acknowledged that it's easy to "write it off for its simplistic presentation", however it was stated that the game undeniably provides "great value" especially due to the replayable online mode.Wiiloveit.

IGN nominated Guns Up! for "Best Strategy Game" at E3 2014 The game received mixed reception, with the aggregate score being 54/100 on Metacritic. C.J. Andriessen of Destructoid rated the game 25/100, calling the game "repetitive, tedious" and "digital Ambien", and stated that the game was "un-fun" without spending money on microtransactions to increase the XP gained, but also said that the microtransactions made the game too easy. Dean Takahashi of GamesBeat rated the game 70/100, finding it "fun and replayable", but criticizing the "slow network response".

Causal games frequently use social-network game mechanics, where players can enlist the help of friends on their social media networks for extra turns or moves each day. More recent are hyper-casual games which use even more simplistic rules for shore but infinitely replayable games. ;Educational games :Education software has been used in homes and classrooms to help teach children and students, and video games have been similarly adapted for these reasons, all designed to provide a form of interactivity and entertainment tied to game design elements. There are a variety of differences in their designs and how they educate the user.

1, Issue 8), Johnny Razor reviewed OGRE: Deluxe Edition and highlighted the game's ease of introduction and short playing time, but pointed out that most gamers either like the game or loathe it. In the August 1991 edition of Dragon (Issue 172), Allen Varney reviewed the combined Ogre/G.E.V. edition of 1991, and stated, "[The] two simulation board games of armored combat on a future battlefield are among the best the field has ever seen: fast, elegant, and endlessly replayable". While praising the production values of the 2-color playing pieces, Varney found the box somewhat 'flimsy'.

This leaves a lot of different strategies to win the game, and solving the murder is not a guarantee you will win the game. Players attempting to balance both solving the murder, and solving the Conspiracy while trying to find out their opponents' hunches, throwing them off, and forcing them into bad Plot Endings generally win. Because of this the game is very replayable, and very open to future expansions. No character has an optimal way to win a game, because of the element of plots, which can change how to play a character, and the element of players playing Dark Cards against you.

When commenting on the creation of Mohawk games Johnson said, "Mohawk puts gameplay first," "Our goal is to make games that will be played for years, based on elegant, replayable systems that are not limited by finite content creation. Our development process emphasizes rapid iteration above all else, requiring our games to be playable as soon as possible so that we have time to find the fun." Christopher Tin has again contributed musical pieces to Offworld Trading Company, including the theme 'Red Planet Nocturne'. Once again Soren and Christopher shared ideas on how to make the music sound "other worldly", with Christopher heavily synthesizing his music for the game.

To ensure the game is challenging and replayable, the team valued the idea of unpredictability and randomness. For instance, when players attempt to shoot an enemy, the game's user interface tells players the chance of launching a successful hit. At a high percentage of chance, they can still miss their shots while at a low percentage, players may be able to land some hits. According to Solomon, the team realized players may become emotionally invested in the experience, thus the real statistic calculation will "match the player's psychological feeling about that number", meaning the possibility of successful hits may be slightly higher or lower than the UI statistic.

She also felt that it was very replayable, which offset its brevity. Ryan Clements of IGN agreed with Liang's opinion, saying that it provided "more enjoyment, emotion and enlightenment than any game" he had played in years. Though he noted that the game would not appeal to everyone, he described it as "something very unique and very powerful", referring to it as a "must-play". Michael Kontoudis of PALGN called it an "utterly unique, brave and moving game brimming with personality and intent", though he noted that as it was closer to a work of art than a game, many players would not be interested in it.

" 148Apps said " Little Things Forever won't appeal to those who like tons of action or marauding zombies, but for the mellower solving set and as a family activity it's a delight. It's also the rare game where I urge you to turn the volume up – even the music makes for a wonderfully addictive experience. " PocketGamerUK said " A sublimely understated hidden object game that shows that, sometimes, subtle improvements to a strong foundation are all a sequel needs. " TouchArcade wrote " On every level, Little Things Forever hits all of the right notes: it is easy to pick up, fun to play alone or with a friend, simple yet challenging, and extremely replayable.

A review of Beast in the 1988 book Public-domain Software and Shareware noted that the game had "original concepts" but the author admitted that "I don't completely understand this game". In a retrospective review of "classic" ASCII games, PC Magazine described Beast as "so simple yet so replayable" and "stressful at times, but always fun". In his book The Video Game Explosion, scholar Mark Wolf noted that Beast resembled earlier block- pushing games like Sokoban and ASCII text games like Rogue, but advanced beyond both of those games by introducing "freeform, real-time spatial control" into a block-moving action game with "a level of fluidity that is unexpectedly effective".

The player takes on the role of Faren, Captain of the Guards, who is given the task of finding the murderer. The player starts the adventure at Scene 1 out of 605; the choice the player makes at the end of each scene determines the path taken through the book, ultimately leading to success or failure. It is replayable because the guilty party changes every time. There are actually five murder mysteries with different clues — the player chooses one of five "fatestones" at the start of the adventure; each fatestone leads the player down a different path through the adventure, each leading to a different murderer.

The series had a mixed reception. The Boston Herald wrote that the series was released to a "universal yawn", as opposed to other Humongous series such as Putt-Putt and Freddi Fish, which were popular, fun, rewarding, and replayable, according to the site. They added that the series' protagonists Ben and Becky "fail to ignite sympathy" and some activities were not well-designed, dull, and insoluble; however they thought other activities were "both age- appropriate and amusing". The Rocky Mountain News wrote that while the series in theory "includes all the elements that should make for a successful program", in reality it was uncaptivating, confusing, and frustrating, with navigation being a significant issue.

" He also criticized the game for always forcing players to upgrade and stock weapons only in certain sections of the game. Destructoid's Chris Carter called it "the most stable Souls game to date", he praised the game's emphasis on melee combat and raw skill, as well as the game's interesting NPCs, sidequests and interactions. He criticized the game's less- inspiring setting and environment design, limited competitive multiplayer, low replay value, as well as the occasional blocked area in the game, which he stated "feel less sprawling and less replayable" than previous FromSoftware games. He summarized the review by saying that "Bloodborne is an interesting mix of everything FromSoftware has learned throughout its storied developmental career.

Audioculture notes its "pronounced soul and groove influences", while in MZ Musician magazine, Jacob Connor noted that "Dimmer's electro-folk musings simmer to a laconic groove", and said that "a restrained elegance makes the music replayable". He concluded that the album is "a rewarding recording from a national treasure." At that year's New Zealand Music Awards it won Best Rock Album, and Dimmer was named Best Group (as well as being nominated for Album of the Year, Single of the Year ("Getting What You Give"), Best Cover Art, and Best Music Video). The album spent five weeks in the New Zealand top 40 album charts, peaking at #19, and earned Gold certification.

Anthony Gallegos called it the best downloadable title he's played all year long, stating that its combination of skillful writing, fun shooting, and tactical tower defense makes for hours of replayable gameplay. The Official Xbox Magazine gave it a 9 out of 10 rating, praising explosions, balance of action and strategy, and replayability. Destructoid gave it an 8.5 out of 10 rating, calling it a hell of a fun game that has just a few minor blemishes. GameSpot gave it an 8 out of 10 rating, praising the combination of tower defense and action gameplay, varied missions with replay value, fun solo and co-op modes, and customization but criticizing the chore of collecting scrap.

On February 18, 2014, Levine announced that Irrational Games would be closing down, with fifteen members of the staff to follow Levine to focus on digital only, narrative-driven games for Take-Two. Levine stated in a 2016 interview that the stress of managing Infinites development had affected his health and personal relationships, and rather than stay on to lead an even larger BioShock game, opted to depart from it. Levine's current project involves a concept of "Narrative Legos" that can be used to create an endlessly-replayable story-driven video game. On February 23, 2017, Irrational Games was rebranded as Ghost Story Games, founded by 12 of the former Irrational members with Levine remaining as president and creative director.

Some notable adventure games from this era are Under a Killing Moon, The Pandora Directive, Gabriel Knight 2: The Beast Within, Voyeur, Star Trek: Klingon, Star Trek: Borg, Ripper, Snatcher, Black Dahlia, The X-Files Game, Phantasmagoria, Bad Day on the Midway and The Dark Eye. Others in the action genre are Brain Dead 13 and Star Wars: Rebel Assault. Due to the limitation of memory and disk space, as well as the lengthy timeframes and high costs required for the production, not many variations and alternative scenes for possible player moves were filmed, so the games tended not to allow much freedom and variety of gameplay. Thus, interactive movie games were not usually very replayable after being completed once.

Michael Hubbard of musicOMH dubbed the song "an all out visceral onslaught, a keening mix of battered synths, drum machines and Nick Zinner's typically bloodless guitar playing", and referred to it as "a mix of Show Your Bones cleaner production with the grubbiness of the Is Is EP". Evan Sawdey of PopMatters opined that "[n]o YYY's song has ever been as disposable, replayable, or just outright fun as 'Zero'". "Zero" was named the best track of 2009 by both the NME and Spin magazines, while Pitchfork ranked it the sixth best song of the year. In October 2011, the NME placed the song at number 39 on its list of the "150 Best Tracks of the Past 15 Years".

Virtual patients have been shown to be a time-efficient and cost-effective method of developing clinical reasoning skills in students through independent and repeated practice of physician tasks in a safe environment without the risk of harm to the patient or learner, which can significantly increase the mental pool of learned cases in students. Unlike simulated or real patients, virtual patients can be accessed on demand, and the user may monitor a case over several months while spending less than an hour in real-time. Furthermore, virtual patients can be endlessly replayable and can be easily modified to allow the user to explore different clinical scenarios and patient outcomes. In comparison to simulated patients, virtual patients can also be used as a method of standardized assessment that minimizes variance.

Murder on the Zinderneuf is an adventure game, but by randomly generating stories it is replayable. Designer Jon Freeman stated in the December 1980 BYTE that "a game like Adventure is really a puzzle that, once solved, is without further interest"; by contrast, he wrote, computer role-playing games like his Dunjonquest series offer unpredictable play and replay opportunities. Freeman said that the game was a homage to the classic board game, Cluedo, but there are obvious influences from books and movies in the mystery genre, ranging from Agatha Christie's Miss Marple and Hercule Poirot books, to Sherlock Holmes and the films of Humphrey Bogart. A number of famous personalities from the 1930s may also have inspired the creation of the passengers aboard the Zinderneuf, such as Veronica Lake (Veronica Marlowe), Johnny Weissmuller (Buck Battle), and Hedda Hopper (Margaret Vandergilt).

A common praise was the game's humor, which was described as "clever," "twisted," "relentlessly ... lampoon[ing]," "edgy," "offen[sive]," "first-rate," and comparable to the comedy group Monty Python. The Washington Times reviewer Joe Szadkowski described it as "devastatingly witty", "delightfully cruel", and the "coolest parody ever created", while hoping that Jobs would find the title funny. Szadkowski thought Billagotchi was a "wicked takeoff" of the Tamagotchi, thought the Bill Gates' eyeroll response in the pinball minigame was a "visual highlight", and wrote that Gates TV became his favourite part of the program due to its "great character voices and hilarious artwork". David Duberman of Spectrum thought the game was Palladium Interactive's best work, praising its "fun ... surprises" and "clever, if not side-splitting, wordplay", and MacLedge's Michael Dixon found the minigames both "enjoyable" and "quite replayable".

As an example of the dedication that Quake has inspired in its fan community, a group of expert players recorded speedrun demos (replayable recordings of the player's movement) of Quake levels completed in record time on the "Nightmare" skill level. The footage was edited into a continuous 19 minutes, 49 seconds demo called Quake done Quick and released on June 10, 1997. Owners of Quake could replay this demo in the game engine, watching the run unfold as if they were playing it themselves. This involved a number of players recording run-throughs of individual levels, using every trick and shortcut they could discover in order to minimize the time it took to complete, usually to a degree that even the original level designers found difficult to comprehend, and in a manner that often bypassed large areas of the level.

At the 2014 Game Developers Conference following the restructure, Levine presented his idea of "narrative Legos" that he wanted to explore with this studio. Levine stated that in this concept, they can distill narrative elements to key aspects that the player can learn, act upon, and affect a non-linear narrative story, and then combine them in a way to make a player-driven, highly-replayable game. In January 2015, Levine said that their first game with the narrative Legos concept will be a "first-person sci-fi" game. During a presentation at the March 2017 EGX Rezzed conference, Levine said that this game uses a system inspired by the Nemesis System within Middle-earth: Shadow of Mordor, which he found provided a way to include a larger metanarrative in a game without having to customize a lot of story or dialog for it.

Around early 2015, a new type of gaming app emerged on the app stores, called hyper- casual games, with Crossy Road, by Hipster Whale considered one of the key examples in this period, though earlier games like Flappy Bird by dotGears in 2013 had displayed the same principles in gameplay. Hyper-casual games differentiated themselves from the bulk of existing app games by being small and lightweight downloads, using simple graphics, and having extremely simple rulesets, but were otherwise infinitely replayable. In the case of Crossy Road, the goal is to maneuver a character as far as possible across lanes of a busy road and avoiding traffic, a type of endless game of Frogger, earning in- game coins based on distance and any collected coins picked up that can be used to unlock new characters or buy power-ups. In-app purchases also could be used to buy coins, or coins could be earned through advertising.

Paste magazine's Kayleigh Hughes stated, "In its cohesion and crispness, its innovative approach, and perhaps most significantly the astuteness and clarity with which it engages in the frantic, threatening, vibrant world that surrounds Erez, Off the Radar is galvanizing." Sumsion wrote that the album established Erez as a "rarity in glitchy, ethereal r’n’b and strobe-lit alt-pop, an auteur who bolsters her moody production chops with lyrical content of striking depth and acuity." As he concluded in his reviews for Gigsoup, "Dripping with imagination and vibrancy, ‘Off The Radar’ is an audacious, cohesive and enchanting sensorama from a fearless, original artist forging her own path, an eminently-replayable provocation for both head and heart that dives deep into new, curious directions and breathes fresh life into warped pop." Some reviewers praised Off The Radar for Erez's fearlessness in discussing controversial problems, some honored its ability to combine together both fun musical elements and harsh political subject matter, while others praised its unique and experiminetal sound design and production,Burton, Will (7 August 2017).