Games developed by Avalon Style Entertainment
We provide a list of companies that developed abandonware games.
Select a company to view its games.
To make searching easier, use pagination by number or letter.
Plastilinovyj Son
Plastilinovyj Son is a Windows adventure built around the idea of traveling through a dream world shaped like molded clay. The player guides a small, plasticine-like protagonist as he moves across shifting locations that resemble handmade dioramas: rounded corridors, toy-like platforms, and toy streets that bend and rearrange as the dream reacts to the player’s actions. Each environment is presented as a complete scene with its own mood—spare and quiet spaces, bright fantasy corners, and darker passageways—creating the sense that the journey is unfolding inside an animated memory.
Gameplay combines exploration with light puzzle solving and action-oriented traversal. The controls emphasize responsive character movement through the sidescrolling layout, including jumps, careful positioning, and the ability to interact with objects embedded in the scene. Progression depends on manipulating elements within each dream set-piece—using movable items, triggering environmental mechanisms, and finding routes that open as conditions are met. Encounters and obstacles are handled directly through timing and navigation, with the game encouraging players to test different approaches when a passage appears blocked or behaves differently than expected.
Mechanics are rooted in the dream’s pliable logic. Platforms can shift, hazards may appear in patterns, and interactable objects often serve multiple roles depending on where they are placed or how they are approached. The game tracks objectives through stage progression rather than open-ended quests, keeping focus on reaching the next beat of the dream while encouraging repeated attempts when timing or spatial understanding is required. Checkpoints help maintain momentum through longer sequences, while restart options allow players to refine their routes without losing the overall flow.
Visually, Plastilinovyj Son presents characters and environments with a distinctive clay aesthetic. Edges are soft and rounded, materials look sculpted rather than rendered with hard surfaces, and many details resemble craft work—finger-smoothed textures, simple fabric-like elements, and exaggerated proportions that give everything a tactile, stop-motion feeling. Lighting is gentle and often diffuse, reinforcing the sense that the world is made of modeling material and paper-thin imagination rather than strict architecture.
Sound and audio atmosphere support the dreamlike pacing. Background music alternates between calm, whimsical melodies and more insistent themes during obstacle sections, using warm orchestration and light rhythmic elements to keep movement forward. Ambient effects—murmuring room tones, subtle mechanical clicks from interactable devices, and soft impacts during traversal—help the player read what the environment is about to do. The overall experience is guided and contained: players move from scene to scene with clear stage goals, while the clay-styled presentation and responsive puzzle-and-navigation mix create a calm but continually surprising journey through a world that feels alive.
Sabotain: Break the Rules
Sabotain: Break the Rules arrived on Windows in 2004 with a curious promise: turn the act of sabotage into a rule-bending pastime. Set in a media-slick festival of competing teams, it frames each match like a contest of brainpower and timing rather than raw firepower. The premise is brisk and mischievous, and it immediately signals that players will be rewarded for disruption, misdirection, and opportunistic play. Instead of a straightforward war fantasy, the game leans toward prankish tactics with consequences, where every decision can scramble the board.
At its core, the gameplay revolves around covert interference. You guide a small squad through objective-based missions where stealth and route planning matter as much as the mechanics of grabbing, planting, or rerouting crucial items. Takedowns are rarely the centerpiece; instead, you manipulate surroundings, exploit sightlines, and trigger chaotic chain reactions that force opponents into awkward choices. Progression feels energetic because encounters are rarely identical twice, especially when rival teams contest access points or try to undo your handiwork.
What sets this title apart is how it communicates intention through systems rather than cutscenes. Light, sound cues, and spatial awareness help you read the battlefield like a living puzzle. Vehicles and environmental hazards provide multiple ways to skew the momentum, and the game’s momentum shifts are often the result of something subtle: a poorly timed intervention, a misjudged cooldown, or a sudden opening created by a teammate’s distraction. Even when you fail, the play often teaches you a new angle for approaching the next attempt.
Multiplayer support gives the experience extra bite. Competitive rounds encourage counterplay, with opponents adapting to your habits and forcing improvisation. Coordinating roles becomes important, since one player’s disruption can create a window for another to secure an objective. Campaign-like structure is present, yet the most memorable moments tend to be the spontaneous dramas of head-to-head chaos. The overall feel is slightly arcadey, but it still respects tactical thinking, which makes it a pleasant anomaly among early-2000s offerings.
Visually, Sabotain: Break the Rules reflects its era with clear readability and modest effects, favoring legibility over flash. The audio design supports stealth decisions through alert tones and environmental feedback that help you gauge risk. While it never became a mainstream juggernaut, it earned a niche following among players who enjoy underhanded problem solving. Looking back, it remains an interesting snapshot of a time when designers experimented with asymmetry, sabotage-themed objectives, and mischievous competition in the Windows space.
