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S.T.A.L.K.E.R. 2: Shadow Of Chornobyl is out today. As you may have read, it’s on the buggy side. Buggier than a bucketful of locusts. Buggier than Kafka’s Metamorphosis. In our S.T.A.L.K.E.R. 2: Shadow Of Chornobyl review, wasteland wanderer James called it “easily the most borked FPS I’ve played in years”, detailing such issues as HUD elements disappearing, stuttery performance, flashing textures and character mouths not working properly.
Did last week’s paranormal body-swapper Slitterhead leave you cold? Do you consider its brain-jacking of rando cityfolk for monster-hunting purposes a sad waste of potential? Perhaps you’ll prefer RAM: Random Access Mayhem, in which you’re a fugitive AI hopping between warlike robot bodies in top-down view.
Yes, the subtitle involves both a colon and a dad joke, but the demo is entertaining – Nuclear Dawn meets Ctrl Alt Ego, in short. The one major criticism I have after 20 minutes or so is that the flat pixelart perspective makes walls and walkable surfaces look interchangeable, and this feels more like a question of acclimatisation than a real complaint.
On 11th October 2024, three video game studios announced themselves near-simultaneously as the creators of “spiritual successors” to ZA/UM’s mournful Marxist RPG Disco Elysium. First came Longdue, a conspicuously corporate operator who are making an untitled “psychogeographic RPG”. Dark Math Games followed around lunchtime – they’re making a sexy Antarctic ski resort mystery called XXX Nightshift. Finally, there was Summer Eternal, the mouthiest and Marxiest of the lot, who have set themselves up as a workers co-operative and have yet to announce a specific project.
In 2015 a flight by Germanwings carrying 144 passengers and six crew crashed into a mountain in the French Alps. Later, the authorities who investigated the crash judged it was intentional – somebody in the cockpit had purposefully crashed the plane in an act of suicide, killing themselves and everyone on board. Mouthwashing begins with the same premise, albeit in a sci-fi setting. You’re piloting a spaceship with a crew of five, clicking on its various controls to override the safety and turn the ship towards a nearby heap of space rock. You mean to crash. The words that appear moments before this sequence are chilling in their simplicity: “I hope this hurts.”
Remedy’s Control 2 will be an “action RPG“, the developers have announced, and while I have already caved and written it up, I’m not sure this is really news. Wasn’t the first game an action-RPG? True, it was a third-person shooter, but it also had a progression system with unlockable abilities and boosts. Besides, isn’t every action game an action-RPG these days? Levelling-up has become an industry-wide syndrome. Go on, name an action game that doesn’t have RPG-style elements. No wait, don’t actually do that. I was being rhetorical. Read the rest of this post first.
My time with Threshold has been fraught with pain. Five times. Five times I had to restart this psychological horror game because of some game-breaking bug. And yet, I persevered, booting it back up and returning to my government-mandated shift atop a quiet mountain.
Ultimately, I gave Threshold chance after chance because I was totally taken by my shift and my immense desire to find out just what I was actually doing. Anyway, it’s time for me to clock off! I urge you to take over until I’m back. It’s worth it.
Microsoft Flight Simulator 2024 launches on Steam and the Microsoft Store today. Developed once again by Asobo – otherwise celebrated for their stinking rat hordes – it builds upon the 2020 game by “[taking] advantage of the latest technologies in simulation, cloud, machine learning, graphics and gaming”, in the words of the launch announcement release
We’ve got a review in the works, but code has landed late, so our write-up might take a while. In the shorter term, I thought you might like to know how, exactly, MFS 2024 makes use of “machine learning” technologies, taking into account the energy cost of such wacky gadgetry and the creeping relationship between increased reliance on automated tools and laying people off. More immediately, you might like to know how much of your internet package it’ll devour as you play.
A long while ago I wrote about Vampire Survivors-likes needing to stop overwhelming you with visual clutter. I’ve since played a few games of a similar ilk that don’t hammer you with a chaos that’s impossible to dissect with your eyeballs. One of these is Bloodshed, an old school FPS take on the VS formula that actually works pretty well and did have me thinking the treacherous phrase “just one more run”.
I am a very casual enjoyer of Metal Slug games. I’ve never actually paid for one of these side-scrolling shoot ’em ups, except for all the countless coins I happily pumped into arcade machines as a child. To this day, if I see a rare glittering cabinet running one of these crunchy shmups, I will go ham for twenty or thirty minutes, and walk away satisfied that I have seen a lot of very good pixels. These games, I am convinced, were never really designed to be completed, but to be played exactly like this, as a coin-gobbling invitation to become a bandana-wearing sisyphus, a tiny Rambo pushing a bouncy, juddering tank up a hill occupied by cartoon nazis. You die a bunch and say: “ah, that was good.”
So what happens when you rearrange the molecules of this run and/or gun ’em up into an isometric turn-based strategy game? You get Metal Slug Tactics, an off-kilter nod to Into The Breach and other grid-based turn-takers, but secretly housing the aggressive notions of an unhinged pyromaniac. You still die a lot. And you still walk away feeling fairly happy about it.
Good morning, how about a nice big bowl of your favourite breakfast cereal: Corporate Consolidation? Sony are in talks to buy Kadokawa, the parent company of Elden Ring developer From Software. Sony is eyeing up the company as a hefty snack because they want the various manga and anime owned by Kadokawa, according to a report by Reuters. But also because they want all the tasty games owned by them too, such as the Danganronpa series, the Octopath Traveler games, and the biggest corn flake of them all, the Dark Souls series.
