Category: Rock, Paper, Shotgun

Let’s try and get you up to speed on the fascinating oddity that is simulation game Ecosystem, on the off chance that Nate’s coverage of it hasn’t stuck with you like an unwelcome brain parasite you’re nonetheless unwilling to get removed for fear of the lingering emptiness it might cause (he once described an eel as “a quaver with erectile dysfunction”). Broadly speaking, this game is Spore’s evolutionary-biology-degree-having cousin. It’s been in early access for about three years now, but with the latest “Crustacean” update, it’s just hit 1.0. Once again, carcinization has come for all things.

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My brain is still thawing for the comment freeze, and thus there is sadly no cool industry person to talk to us about books this week. I’m currently reading Tony Tulathimutte’s Rejection. Jia Tolentino wrote about it for the New Yorker. Jia Tolentino also writes very good books. But enough about books, tell me about books! One’s you’ve read, preferably, but I will also accept books you’ve formed opinions on based on their covers, as is good and proper. Book for now!

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The Rise Of The Golden Idol will crack its new case wide open on November 12th, but the detective sequel is just the beginning. Color Gray Games are planning another tranche of DLC akin to that received by the first game, The Case Of The Golden Idol: four standalone mysteries that introduce more mysteries to solve.

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Warhammer 40,000: Gladius – Relics Of War developers Proxy Studios have just released Zephon, a new 4X strategy game set in a manky, post-apocalyptic world. It’s got hexagonal maps, flesh trees, gangly Evangelion-grade giants, “otherworldly hymns of decay”, nuclear bombs, and a player-led “blend of magic and cyberpunk” that extends from the city architecture to the research component. All of which is my cup of giblets. Here’s the launch trailer.

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Warframe developers Digital Extremes have announced a new round of early access for their 2025-bound fantasy action-RPG Soulframe, which I saw a bit of last year and think is pretty promising. They’re now adding 2000 players to a Preludes build of the game every week, with each invite email including an additional four invite codes, so you can get your friends involved.

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“The cool thing about bombs is that you can hide them in anything,” is probably my favourite Oppenheimer quote of all time, and in the case of Ian Hitman, it does raise an important question: with so many everyday objects equal to the rubber duck in its unthreatening aura, yet more inconspicuous, why choose to put an explosive in this one?

The simplest answer is that’s it’s a recurring bit of levity, a holdover easter egg, elevated to the status of key mission item in Hitman: Codename 47 before being given pride of place as an explosive in the World Of Assassination games. But to ascribe such unassuming purpose to the duck is to ignore its revelatory power. We must go deeper.

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Palworld developers Pocketpair have finally revealed which patents Nintendo and the Pokémon Company are suing them about. It looks like they’re focusing on the act of throwing capsular items to catch or release monsters, together with the usage of monsters as mounts.

If you’ve somehow yet to encounter Palworld, it’s a bestselling survival game that takes hefty – some would say, scandalous – inspiration from Pokémon, with players poaching Pokésque critters using magic spheres, and deploying them as soldiers and minions.

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In all honesty, Toads Of The Bayou could have been several notches less ribbet-ing than its Steam demo ended up being, because its stylised pixel fly-snatchers are just that good. There’s only one of the three characters available in the freebie (one of the others is a toad nun with a shotgun), but he’s got a little cutlass, a flintlock pistol, and a can-do attitude – at least when it comes to either stabbing or shooting things. The game itself is a little bit deckbuilder, a little bit Into The Breach: turn based strategy with perfect information and various tricks you can pull to make enemies hit each other instead of the thing you’re trying to protect. Indulge yourself on the gourmet tray-tray below.

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Could tower defence be the ultimate “it’s Friday and I am here in body only” genre? I haven’t really thought about it before, but Rift Riff‘s effusively laidback crowd control has me pondering those optimal moments in any tower defender when the incoming horde hits the flamer-MG triangle just right, and you can settle back comfortably into the role of clockwatcher.

Rift Riff encourages this behaviour by being nice to look at. Created by a trio of developers including Hidden Folks designer Adriaan de Jongh, it’s a world of spacey, sun-carved mountains, forests and monoliths. The towers resemble the sacred architecture of Monument Valley, and the colour scheme and general ambience remind me of Cocoon. There’s a demo, if you fancy it.

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Nostalgia, when you think about it, is bollocks. There has never been a better time than right this second – averaged out, and despite repeated attempts to the contrary, humanity has never been healthier, freer, or more enlightened by knowledge. It’s true of games too. For every by-committee platter of passionless map markers, there are thousands of more personal, more creative, more interesting works, all adding to the decades’ worth of great stuff we can still play today.

What isn’t bollocks is the emotional pull that nostalgia, for all its lack of cold, hard reason, still manages to wield inside our warm, squishy brains. Hence, the centrepiece of Apex Legends’ Season 23 update is a mode that recreates the battle royale FPS as it was back in 2019, defaulting back to the original map and weapon arsenal while cutting the 26-strong legend roster to the earliest ten. It’s a Fortnite-style rolling back of the clock, and a passably enjoyable one, but also a reminder that the good old days weren’t always that good.

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