Review: ‘Dave the Diver’ is the perfect blend of sea and sushi 

“Dave the Diver” has built a gorgeous tropical world of magical seas and a colorful restaurant for you to explore. It combines two different styles of play with a story that borrows from magical realism to hugely rewarding effect. (Supplied)
Short Url
Updated 11 October 2023
Follow

Review: ‘Dave the Diver’ is the perfect blend of sea and sushi 

LONDON: Despite the graphics power of modern gaming machines, we are constantly reminded that old-school pixels can do the job when combined with the right balance of gameplay and story.

“Dave the Diver,” originally for Macs and PCs and now available for the Nintendo Switch, has built a gorgeous tropical world of magical seas and a colorful restaurant for you to explore. It combines two different styles of play with a story that borrows from magical realism to hugely rewarding effect.  

Dave the diver is overweight, past his prime and relaxing on the beach when the call comes to put on his scuba gear and help a friend secure fresh fish and support the running of a new sushi restaurant. Cue all sorts of chaos as earthquakes, magical blue lagoons and ancient sea people pop up along the way. 

Each dive is unique, and the essential purpose is to manage your oxygen while plumbing the depths to achieve your objectives. Fish range from the common, small varieties found in shallower water to more exotic rarer species found at depth.

Dave must aim his harpoon and reel in fish, with bigger targets requiring more skill and equipment. He must also dodge sharks and more aggressive fish on his way. All this can be done better with upgraded equipment that can allow Dave to navigate the depths in better safety.

Diving alone might be enough of a game in and of itself, but the quirkiness of the title sees Dave play an essential role in the restaurant on the bay that serves up the fish he’s caught. Here you must design a money-making menu, hire and train employees, run fish farms and, most importantly of all, serve customers. This involves rushing from the kitchen, pestling wasabi and pouring green tea all under the watchful eye of the expert, if not slightly eccentric, head chef. There is even more depth to the game once you realize the many functions available on your mobile phone, which include running the social media account for the restaurant to bring in more customers.  

Various characters in the story pop up and request Dave to retrieve things from the deep, ranging from conservationists to amateur historians. All this adds to an excellent balance of story development as you seek to upgrade your equipment and explore deeper and deeper water. These depths hide bigger bosses and gently challenging puzzles although the game is more repetitively addictive within its cycles than revelatory as you get further into it. 
 


Lebanese filmmaker turns archival footage into a love letter to Beirut

Updated 28 February 2026
Follow

Lebanese filmmaker turns archival footage into a love letter to Beirut

LONDON: Lebanese filmmaker Lana Daher’s debut feature “Do You Love Me” is a love letter of sorts to Beirut, composed entirely of archival material spanning seven decades across film, television, home videos and photography.

The film premiered at the 82nd Venice International Film Festival in September and has since traveled to several regional and international festivals.

Pink Smoke (2020) by Ben Hubbard. (Supplied)

With minimal dialogue, the film relies heavily on image and sound to reconstruct Lebanon’s fragmented history.

“By resisting voiceover and autobiography, I feel like I had to trust the image and the shared emotional landscape of these archives to carry the meaning,” Daher said.

A Suspended Life (Ghazal el-Banat) (1985) by Jocelyne Saab. (Supplied)

She explained that in a city like Beirut “where trauma is rarely private,” the socio-political context becomes the atmosphere of the film, with personal memory expanding into a collective experience — “a shared terrain of emotional history.”

Daher said: “By using the accumulated visual representations of Beirut, I was, in a way, rewriting my own representation of home through images that already existed."

Whispers (1980) by Maroun Bagdadi. (Supplied)

Daher, with editor Qutaiba Barhamji, steered clear of long sequences, preferring individual shots that allowed them to “reassemble meaning” while maintaining the integrity of their own work and respecting the original material, she explained.

The film does not feature a voice-over, an intentional decision that influenced the use of sound, music, and silence.

The Boombox (1995) by Fouad Elkoury. (Supplied)

“By resisting the urge to fill every space with dialogue or score, we created room for discomfort,” Daher said, adding that silence allows the audience to sit with the image and enter its emotional space rather than being guided too explicitly.

 The film was a labor of love, challenging Daher personally and professionally.

“When you draw from personal memory, you’re not just directing scenes, you’re revisiting parts of yourself and your childhood,” she said. “There’s vulnerability in that.”