Let me start this review by saying that I absolutely no idea what problem developer Funselektor has with the use of capital letters in the art of rally. And yes, the name of the game is art of rally, with no capitals. Nor, in fact, are capital letters […]
Bullets Per Minute is what happens when somebody plays too much Guitar Hero and Beat Saber, and then decides to play DOOM at 3 am. It’s a first-person-shooter mixed with a rogue-like structure. Then, imagine the Doom: Eternal soundtrack but on a tighter budget. That solid thumping beat and tasty guitar riffs that make the foot tap and the head nod. It’s perfect music for a fast-paced FPS. But that killer soundtrack isn’t just pleasing to the ears, it’s the core of the entire damn game. Shooting, jumping, using abilities and reloading all have to be done in time with the beat. Pull the trigger out of rhythm and all you’ll get is a sad click. Time it right and the bang of the gun will become a part of the music. Once you get good at it, it’s really satisfying to hear everything you do mix into the music. Yup, Bullets Per Minute is an awesome concept.
THE year was 2012 and the world had not yet burst into flames. It was a simpler time. It was also the year one of my favourite RPGs came out, amidst a bunch of drama surrounding its development owing to the fact that Rhode Island had helped fund the game’s creation. 38 Studios was founded by former Baseball pitcher Curt Schilling with the aim of turning his gaming hobby into something more, and to create awesome new RPGs with the help of Todd McFarlane and R.A. Salvatore. He succeeded: Amalur is excellent, and in some alternate reality its sequels would have kicked ass. But despite solid sales of 1.2-million copies, too much money had been spent on development. Payments weren’t made on time, 38 Studios began to collapse. It would take near four years for the court case between Rhode Island, 38 Studios and Curt Schilling to be settled. So it’s something of a miracle that eight years later we have Kingdoms of Amalur: Re-reckoning, a remaster of the original game and a spark of hope that we might still yet get a sequel.
Iron Harvest certainly does a good job of making itself appealing to any RTS fan. Set in an alternative 1920’s, Iron Harvest mixes infantry with hulking diesel-powered mechs that stomp across the landscape. It’s all inspired by polish artist Jakub Rozalski’s 1920+ series of paintings, which also acted as inspiration for an excellent board game by the name of Scythe. The result is awesome to watch. As squads of gunmen slam into cover and open fire, a massive mech will power into the frame and begin unloading artillery rounds. Mechanically, these machines of war are not vastly different from regular tanks in how they behave, but they sure do look a hell of a lot cooler, don’t they?
Do you like insane RGB lighting, satisfying mechanical switches and sequels? Then do I have a keyboard for you! The HyperX Alloy Elite 2 is a follow-up from the 2018 Alloy Elite that had CherryMX switches. This time HyperX are hitting hard with their own switches and insane lighting that draws the eye and then burns the retina.
Griefhelm is what you get when you play Nidhoog and reckon there should be considerably more cutting off of limbs and decapitations. One man developing army Johnny Dale Lonack has put together this entire game on his own, a feat worthy of admiration. And I want to be […]
“Wake the fuck up Samurai, we have a city to burn.” Ah wait, that’s the wrong game. Despite not featuring the shining excellence of Keenu Reeves, being overshadowed by The Last of Us Part 2 and getting considerably less attention from Sony than Naughty Dog’s long-awaited disappointment, Ghost of Tsushima has ended up being a fantastic end to the Playstation 4’s long line of strong exclusive games. Ghost of Tsushima is selling great and breaking records, and it thoroughly deserves to. Marvel’s Spider-Man let us be the web-slinger. Red Dead Redemption 2 let us live our cowboy fantasies. Ghost of Tsushima lets us live with honor as Samurai.
It’s weird to think that From Software have managed to create a whole new genre of action game, yet that’s exactly what they did with Demon’s Souls, Bloodborne and the Dark Souls trilogy. Hard as nails combat, exploration, baffling stories and a willingness to invest a lot of time are just so of the things that have come to define Souls-like titles. And there’s no shortage of games being released that have obviously been inspired by From Software. Today, I’m taking a look at one of them: Hellpoint, from Cradle Games.
The classic fetch quest is a staple of gaming, typically found in RPGs that want to pad out their length by sending players scurrying back and forth carrying useless tat. In the case of Death Stranding however, the entire game is a seemingly never-ending series of fetch quests. It’s like Kojima only just discovered them, and after completing a few in other games branded them the greatest thing in the history of videogames ever and built an entire new game around them. As Sam Porter Bridges you are a courier, tasked with lugging cargo of all types across a bleak post-apocolyptic world where the majority of people are hunkered down in bunkers. Chiral printing lets them create a lot of what they need, but there’s also a lot of stuff that still needs to be transported the good old fashioned way: on Sam’s back. In this 40+ hour game the majority of your time will be spent going back and forth, delivering parcels. Exactly how something so utterly boring wound up being so utterly absorbing is a mystery.
We live in a time where all sorts of games are getting a chance to be remastered, remade or even to get a sequel. Some make sense, and some are genuinely surprising choices. I’d say Destroy All Humans is the second one. Originally released in 2005 it did […]