A good horror game will give me the same rush as a movie. Something that doesn’t often happen, however, is the intersection of the two. Sure we have stuff like Dead By Daylight and Evil Dead: The Game but for the most part the era of video games based on movies has long passed. But that’s not to say there aren’t some absolute gems based on your favorite movies.

For this list I’ve tried to highlight some of the most enjoyable adaptations I’ve played and some underappreciated ones as well. Though some may be kind of a hassle to play in modern form today, these are all absolutely worth seeking out for their own reasons.

Predator: Concrete Jungle

Released in 2005 for the PS2 and Xbox, this game put players in the starring role of a ruthless hunter in a story that traversed time itself. Beginning in the year 1930 before jumping to the year 2030, Predator: Concrete Jungle saw players as “Scarface,” a disgraced Predator warrior sent back to Earth to settle a vicious blood feud and redeem himself. Over the course of the game players will come to realize that Predator technology is fueling a vicious gang war in the city of Neonopolis and it’s up to Scarface to clean up the mess. Predator: Concrete Jungle was notable for giving players the full arsenal of a deadly warrior and dropping them into an urban city much like Predator 2. The game also featured extensive connections to not only every Predator film at the time but also the Alien films including appearances of Xenomorphs as enemies for the players to cut down.

Speaking of Xenomorphs…

Alien: Resurrection

Cursed with a plethora of development issues much like the film it’s based on, Alien: Resurrection was ahead of its time. Though the film itself is probably the most forgettable entry in the series, the game (released three years later) is far from that. A first-person shooter made in the era where Quake and Unreal were kings, Alien: Resurrection is an exercise in terror as it places players in dark environments with limited resources. It’s a horror game through and through and a terrifying one at that. Alien: Resurrection was also one of the first console FPS games that introduced the dual thumbstick control layout that is now the standard for all shooter games on consoles.

Jaws Unleashed

The Jaws series is no stranger to silly sequels and Jaws Unleashed for the PS2 and Xbox is one where you can actually play as the shark! Jaws Unleashed puts players in the role of a bloodthirsty Great White Shark in a story set 30 years after the original film. Though the story hardly matters as it’s mostly an excuse to put the shark in silly situations such as a water theme park, a beach party, or even an underground research facility to unleash glorious gory mayhem. Jaws Unleashed may not be a masterpiece like the film that inspired it but at the end of the day it’s a bloody good time.

Evil Dead: Regeneration

An oddball Evil Dead midquel for the PS2 and Xbox, Evil Dead: Regeneration is faithful to its source inspiration. For this entry players take on the role of Ash Williams (yes, voiced by Bruce Campbell) in a story that takes place in between Evil Dead II and Army of Darkness and pairs him up with a foul-mouthed Deadite sidekick. Though your typical hack and slash fare with light puzzle solving, Evil Dead: Regeneration has the trademark gore and humor you would expect from the series. The game also featured video interviews with Bruce Campbell himself where he seemingly confirms that Freddy vs. Jason vs. Ash was in production at one point?

The Thing

One of my personal favorites on this list, The Thing for PS2 and Xbox is a wildly ambitious official follow up to the 1982 John Carpenter masterpiece. Players take on the role of Captain Blake as he’s sent to Outpost 31 to investigate the events of the film and what happened to the crew. Blake discovers the horrifying events that transpired and is soon put through hell and back again dealing with the alien life form. The Thing was a traditional survival horror game that added an element of squad based gameplay where Blake could command a crew of soldiers with him, the twist being that any of them could either be stricken with fear, distrust, or outright infection and needed to be dealt with accordingly. A massive gamer himself, John Carpenter gave full endorsement to The Thing as an official sequel, and it’s a damn shame this one hasn’t been rereleased.

Saw: The Video Game

Did you know a video game adaptation of Saw was considered by Konami to be a spiritual successor to Silent Hill? Did you know that there was even a video game adaptation of the Saw franchise? Konami pumped out Saw in 2009 and had it be a midquel set in between Saw and Saw II (that sounds familiar). Saw for the PS3 and Xbox 360 put players in the role of Detective Tapp as he had to make his way through an abandoned asylum that was transformed into a Jigsaw house of horrors. Saw tasked players with solving puzzles, traps and light combat with other captives. All things considered, Saw was a pretty great adaptation that felt true to the films. It’s a damn shame that the sequel squandered any goodwill they had going for them.

Blair Witch

I’m mixed on most of Bloober Team’s games, but even I’m willing to admit that Blair Witch absolutely rules. Set two years after after the 1999 film, players take on the role of veteran Ellis Lynch and his dog Bullet as they join the search party for a nine year old boy that went missing in the forests near Burkittsville, Maryland. What Ellis doesn’t realize though is that the circumstances around the disappearance are far more sinister than he’s led to believe and his search will put him fact to face with the evil force lurking in the woods. Blair Witch smartly adapts the found footage genre into a playable video game form and connects to the deep lore of the franchise. It also features gameplay involving his dog Bullet, who is a very good boy. Blair Witch absolutely belongs among the ranks of best horror movie video games.

The Texas Chain Saw Massacre

The most recent entry on this list sees Gun Interactive bring The Texas Chain Saw Massacre to life in a way that we’ve never seen before. The Texas Chain Saw Massacre is a unique asymmetrical horror game that pits 3 members of the cannibalistic Sawyer family against a team of 4 victims. Matches play out as a cat & mouse style escape room where survivors have to find a way out or become a victim of the saw. Perhaps my favorite aspect about this entry is the faithfulness to the source material and how longingly recreated everything from the original film is. It at times feels like you’re actually playing the film and that’s some of the highest praise I can give to a licensed horror game. Definitely check out The Texas Chain Saw Massacre if you haven’t yet.

The Mummy Demastered

I know what you’re thinking. “Wait, is this based on that terrible Mummy reboot with Tom Cruise?!” Truth be told it is, but Wayforward took the license and rather than make a 1:1 recreation of the film decided to make one of the most fun and brutally difficult “Metroidvania” games. Inspired by their earlier work with Aliens: Infestation, The Mummy Demastered has players join an elite squad of Prodigium soldiers as they fight off the hordes of Princess Ahmanet. What’s cool about The Mummy Demastered is its permadeath mechanic where when you die you take on the role of a new soldier and have to go retrieve all your gear. It’s a killer mechanic that adds a good amount of tension to already stellar gameplay in this underrated title. 

Friday the 13th: The Game

You knew this one was gonna be here. Friday the 13th: The Game was Gun Media and illfonic’s first foray into the multiplayer horror landscape. Friday the 13th: The Game had eight camp counselors try and survive (or defeat) Jason Voorhees, in a do or die horror movie simulator. The game ended up being an absolute love letter to the franchise featuring various incarnations of Jason and a solo mode that recreated moments of the film. There was even going to be an update that brought Jason X content into the mix but sadly all of that was cut short because of the bitter rights battle involving the series. As of this year, the game has been officially delisted. Farewell Friday the 13th, you were one of the best horror movie adaptations I played.

The post The 10 Best Video Games Based on Horror Movies appeared first on Bloody Disgusting!.

What does the future hold? 2024 is already shaping up to be an interesting year with anticipated experiences of its own. These are the games we’re looking forward to next year.

Silent Hill 2: The Remake (PS5)

While I wasn’t the biggest fan of Bloober Team’s Layers of Fear, I can’t help but have some excitement for their upcoming remake of Silent Hill 2, a bona fide survival horror masterpiece that features some of the most iconic imagery in the series. A remake using next-generation hardware seems like a promising prospect. Of course, Konami’s recent handling of their flagship franchises leaves a lot to be desired and Bloober Team has been pretty much radio silent about the status of this remake. Regardless, I’m hoping for the best with this one.

Vampire: The Masquerade – Bloodlines 2 (PS5, Xbox Series, PC)

The sequel to the 2004 RPG masterpiece, Vampire: The Masquerade – Bloodlines 2 has been through some development hell. Announced in 2019 by original developer Hardsuit Labs, the game was quickly delayed into 2020. In 2020, the game’s major writers and directors left the project and in 2021 Hardsuit Labs was taken off the project. Bloodlines 2 didn’t reemerge until this year when it was announced developers The Chinese Room had taken over and fully rebooted the project with a projected 2024 release. Perhaps best known for their work on Amnesia: A Machine for Pigs, it’ll be interesting to see the developers’ take on the wildly popular Horror RPG. After all, who doesn’t love a good comeback story?

Killer Klowns from Outer Space (PS5, PS4, Xbox Series, PC)

Perhaps one of the biggest surprises of 2023 was the announcement of Killer Klowns from Outer Space. The game seeks to faithfully recreate the cult ’80s hit but in multiplayer video game form, pitting a team of Klowns against a team of survivors in matches of absolute mayhem. With development headed up by Illfonic, the folks behind Friday the 13th and Ghostbusters: Spirits Unleashed, there’s no doubt in my mind that they’ll be able to deliver an authentic and fun experience. Oh yeah, they also got the rights to use the iconic theme songs by The Dickies, so things are already looking bright for this entry.

Alone in the Dark (PS5, Xbox Series, PC)

Originally set to release in October of 2023, this surprise reboot of the survival horror classic was delayed to give us time to play other releases that month (how generous). Alone in the Dark tells an original story inspired by the first three entries of the original series, but mixes up the gameplay by adopting a third-person perspective similar to the Resident Evil remakes. Not only that but in a surprise reveal it was announced that the game’s lead characters are played by none other than Jodie Comer and David Harbour! Alone in the Dark seems primed to bring the series back in a big way, and with the blessing of the original series creator, this is one game I can’t wait to get my hands on.

Bye Sweet Carole (PS5, Xbox Series, PC)

I only recently discovered the existence of this game and I’m completely blown away by what I’ve seen. Bye Sweet Carole is a horror game that’s heavily inspired by Disney Renaissance films such as Beauty and the Beast and The Little Mermaid. The game’s graphics feature gorgeous hand drawn animation and it looks like it’ll provide a hauntingly twisted take on childhood favorites. With the creator of the Remothered series behind the wheel on this one, Bye Sweet Carole is sure to deliver a healthy dose of scares as well.

Little Nightmares III (PS5, PS4, Xbox Series, Xbox One, Switch, PC)

The third entry into the wildly popular 2D platformer horror series, Little Nightmares III is mixing up the formula by introducing co-op into the mix. I’m curious about this because while there are plenty of multiplayer horror experiences, very few are co-op. The idea of experiencing something horrific with a friend seems like a very untapped market. Little Nightmares III is also a shake up in the fact it’s the first entry from developer Supermassive Games, the makers of Until Dawn and The Quarry.

The Last of Us Part II: Remastered (PS5)

Released in 2020, it may seem a little soon to remaster The Last of Us Part II already. Developers Naughty Dog have already got ahead of everyone’s doubt and revealed the game’s new features such as a commentary, deleted levels, a speedrun mode, and a roguelike mode featuring randomized combat encounters and multiple playable characters. The Last of Us Part II was already one of the best PlayStation exclusive games and with all these new additions, it sure sounds like the remaster will give fans even more to love.

S.T.A.L.K.E.R. 2: Heart of Chornobyl (Xbox Series, PC)

Delayed for political reasons involving the ongoing war in the Ukraine, S.T.A.L.K.E.R. 2: Heart of Chornobyl is the long-awaited sequel to a survival horror classic. In it, players will explore the ramifications of a Russian fallout and have to contend with horrific monstrosities in this unique blend of RPG and FPS gameplay. This sequel has had a long and storied development history dating all the way back to 2010. Needless to say, fans have been waiting a while for this one and developers GSC Game World promise that the wait will be over soon.

Any Puppet Combo Game (TBA)

Puppet Combo have built quite the reputation for themselves as of late. The one man development team delivers unique horror experiences inspired by 1980s VHS and early PS1 style games. Their games such as Murder House and Nun Massacre are streamer mainstays, and their cannibal survival game Stay Out of the House ended up being one of the best games of 2023. With numerous games being teased and announced, and regular console releases coming along at a steady clip, I can’t wait to see what Puppet Combo cooks up next.

Suicide Squad: Kill The Justice League (PS5, Xbox Series, PC)

Rocksteady’s latest entry in the Arkham series is fighting an uphill battle. Shown off earlier this year, the game received a heavy amount of criticism for its shift to live-service design and addition of a battle pass. Still, given Rocksteady’s storytelling talents and the premise of the Suicide Squad going up against killer brain-washed members of the Justice League, there’s a lot to look forward to with this entry. After all, who wouldn’t want to see the world’s mightiest heroes suddenly become its biggest threat? Sounds pretty horrifying if you ask me.

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This year is honestly one I’ll never forget and I was honored to bring you constant reviews of the latest releases. The time has come now to recognize the ones that stood out most to me; the best of the best. The cream of the crop. These are the top 10 best games of the year.

10) RoboCop: Rogue City

Robocop: Rogue City is by no means a perfect game. A lot of the mechanics are shallow. The gameplay gets repetitive. The small open hubs aren’t too explorable. Some of the writing is shoddy. So why is it on this list? Well, RoboCop: Rogue City captures the feeling of the films so well that it left me impressed. Rogue City is simply a labor of love from a team that clearly loves and respects the source material. Plus, what other game is gonna let me shoot a guy in the dick and actively reward me for it?

9) Amnesia: The Bunker

Amnesia: The Bunker was one of the biggest surprises I played this year. The fourth entry in the Amnesia series, a series that never quite gelled with me given its brand of horror that’s often at the cost of leaving the player helpless and defenseless. I get the appeal but to me that takes the “survival” out of Survival Horror. So imagine my surprise when I booted up The Bunker and was greeted with a brutal fight for survival that allowed me to defend myself. Though this entry adds combat and a way of fighting back, the WWI-set sequel still delivers on the signature fright that the series is known for. A classic feeling Survival Horror experience through and through.

8) Mortal Kombat 1

The latest entry in the Mortal Kombat series delivers all the content you could want from a Mortal Kombat game while getting rid of the bloat. Mortal Kombat 1 smartly ditches the gear system of 11 instead focusing on killer kosmetics and single player options such as Netherrealm’s signature campaign and a new RPG style board game that’s a celebration of the whole series. Oh yeah, the story was pretty killer too with a smart reimagining of the PS2 entries while pushing into new territory. For my money, this is the best Mortal Kombat game in a very long time.

7) Stay Out of the House

Developer Puppet Combo has a unique brand of horror. One that often relies on VHS aesthetics married to PS1-style visuals. While I can see how this can be a turn off for some, Stay Out of the House in many ways feels like the game they’ve always been trying to make. A terrifying escape room from hell inspired by the likes of The Texas Chain Saw Massacre, Puppet Combo is able to deliver on the most intense experiences I had the pleasure of playing in 2023. I suggest you put on a pair of good headphones, turn off the lights, and immerse yourself in the greatest ’80s horror film that never existed.

6) Star Wars Jedi: Survivor

Respawn Entertainment are perhaps most known for their first person shooters. Games like Apex Legends and Titanfall that deliver on fast-paced combat and an ungodly amount of player traversal freedom. So it was a nice surprise when they released Jedi: Fallen Order, a Dark Souls-inspired Star Wars game that told the story of one of the last remaining Jedi in the aftermath of Episode III. Jedi: Survivor sands off the rough edges of that game to deliver a bigger and better experience. One that tells a more personal story while tying smartly into the overall Star Wars epic. Featuring expanded traversal options, a brutal combat system, and tons of player customization including everything from Jedi robes to your lightsaber itself. Jedi: Survivor is one of the few games I found myself going back to again and again in 2023.

5) Dead Space

A remake of the 2008 horror classic, Dead Space expands in all the right ways. Gone is the segmented nature of the original and instead players were treated to a fully explorable USG Ishimura that evokes memories of the RPD from Resident Evil 2. The remake also brings the original game closer in nature to the sequels by bringing back Isaac Clarke voice actor Gunner Wright to replace the originally silent character. Dead Space is a remake done right, one that delivers an improved experience across the board while still being one of the most terrifying experiences out there. Also, who doesn’t love using a next-gen plasma cutter to dismember your enemies in horrifyingly gory ways?

4) Cyberpunk 2077 – 2.0/Phantom Liberty

I know this is a controversial pick. Though technically not a new release, Cyberpunk 2077’s “2.0” update and Phantom Liberty drastically rebuild the game, turning a broken pile of promises into a product that aligns with the original vision that CD Projekt Red had nearly a decade ago. From the new skill trees that allow players to laser focus into a specific playstyle, to the reworked police system that rivals something you would see in a Grand Theft Auto game, to all new ways to interact with the world; 2.0 feels like an entirely new game. Phantom Liberty on the other hand is a massive expansion that adds a whole new district and an emotional story that features one of the best Idris Elba performances ever. If you’ve been waiting to experience Cyberpunk 2077, there’s absolutely no better time than now to jump in.

3) Resident Evil 4

Resident Evil 4 is far and away the best remake Capcom has done. While on the surface remaking such a classic might seem like a fool’s errand, Capcom was able to amplify everything that worked about the original and deliver the ultimate Resident Evil game. Horrifying visuals and story? Check. A brutal combat system that never feels too overpowering? Check. A smartly written retelling that ties more into the rest of the series than ever before? Check. Resident Evil 4 is the series at its best and most content rich. I urge anyone even remotely interested in the series to play this entry and see what RE is all about. It’s also got a great DLC that focuses on Ada Wong.

2) Baldur’s Gate III

I didn’t review Baldur’s Gate III this year. Truth be told it was too massive of an RPG to try and cram into a review period. So it’s been a backlog project, something for me to chip away at in-between releases. Well reader, I need to be honest with you that Baldur’s Gate III is a deeply rewarding experience that pushes RPGs forward in ways I never thought possible. In fact in many ways it feels like an “impossible” game that somehow translates the mechanics of Dungeons & Dragons 5th edition into playable video game form with an unprecedented amount of player freedom and expression. For horror fans though, the game doesn’t shy away from D&D’s brand of horror involving mind flayers, vampires, demons, hell dimensions, possession, witchcraft and other things that go bump in the night. Baldur’s Gate III is a massive game but I promise the journey is worth it.

1) Alan Wake II

It would have been one thing to deliver a decent sequel to Alan Wake after a 13 year wait. It’s another thing to drop one of the greatest Survival Horror games of all time. That’s exactly what developer Remedy did. Alan Wake II is a game that not only is a fantastic standalone entry into the pantheon of Survival Horror games, but also one that transcends the art form to deliver one of the most unique experiences I’ve ever had holding a controller. While most games aim to replicate film, Alan Wake II feels like watching a prestige TV series such as The X-Files or True Detective. Its gameplay mechanics that involve actual investigation and creative writing feel like mechanics of dreams and it’s all brought to life using impressive next-gen tech. We waited a long time to see the end of Alan Wake’s story. I’m so happy that it was worth the wait.

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Pop’s Chock’lit Shoppe of Horrors: Fresh Meat isn’t a sequel in the traditional sense but instead a prequel that will reveal to readers how Pop and his Diner from Hell came to be across three all new stories from the original’s creative team. The title is set to be released March 20th, 2024.

The stories in this horrifying anthology collection are “The Lord of the Fries” by Amy Chase and Federico Sabbatini, “Feed Me, Jughead” by Eisner nominee Jordan Morris and Liana Kangas, and finally “Free Market, Free Range” by Ryan Cady and Chris Panda.

Jamie L. Rotante, Senior Director of Editorial at Archie Comics had this to say about the return to Pop’s Diner:

“We’re incredibly excited to return to the dark world of Pop’s Chock’lit Shoppe of Horrors for another serving of scares! We’re even more excited because the full creative team from last year’s issue is returning. What I love about Pop’s is that it deftly blends some of the most absurd, gruesome, and gory slasher and sci-fi horror with the funniest lines and moments I’ve ever read in an Archie Comic. It’s the perfect schlockfest and anyone who enjoys the brazen, dark humor of horror is sure to enjoy this anthology!”

Returning writer Amy Chase said in a statement, “I can’t even begin to express how thrilled I am that the whole gang is back for seconds. It’s been an interesting challenge to craft a Pop’s prequel while keeping track of all our culinary carnage from the first issue. Readers are definitely in for some new scares with the same great taste!”

Ryan Cady adds, “Sometimes there’s nothing more terrifying than a sequel, but fear not — this one’s all killer, no filler. It’s been so rad getting the team back together and cooking up more horrors.

Finally Jordan Morris teases, “I’m so glad to be returning to the Evil Pop-averse (that’s what I’ve been calling it. Maybe it’ll catch on?)! It’s such a blast combining food and horror in a way that will make readers oscillate between ‘I could go for a burger right now!’ and ‘Holy crud I feel like I’m going to hurl! Do these depraved minds hold nothing sacred?”

With the March 20th, 2024 release date around the corner we can’t wait to sink our teeth into some Fresh Meat. The new chapter in the Pop’s Chock’lit Shoppe of Horrors saga will be available wherever comics are sold.

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Enter Nightdive Studios. A developer who cut their teeth on standard setting remasters of classic games that honor and respect the source games. Nightdive have remastered the first two entries of the Turok, bringing the series to a new generation with a plethora of modern features that have turned these once lost relics into playable modern experiences. 

That tradition continues with Turok 3: Shadow of Oblivion, the final chapter of the original Nintendo 64 trilogy. Turok 3 was somewhat of a departure from previous entries. Rather than jungle environments and Jurassic enemies, the third entry focused heavily on urban environments and alien-like enemies, giving it a unique sci-fi feel compared to the previous games. It’s a bit jarring when playing the games in succession, but Shadows of Oblivion carries a unique ’90s charm that I can’t help but be enamored with.

Players will take on the role of either Danielle or Joseph, the siblings of Joshua Fireseed. The story has them dealing with a new cosmic entity named Oblivion, and in the process becoming the new Turok hunter. It’s a story that for all intents and purposes plays out like the finale of a trilogy but also sets a new path going forward. The siblings also play differently from one another as Danielle uses heavy weapons and Joseph a sniper rifle. Their journey plays out across a kick ass cyberpunk/sci-fi campaign that features the signature Turok action you know and love.

Enough about the game from 23 years ago. I’m here to tell you how good the remaster is. In short: it’s excellent. Nightdive has taken a game that struggled to even run on the Nintendo 64 and expertly ported it. I spent my time with the PS4 version (running on PS5) and was constantly in awe at how good it looked and ran. It almost feels like watching your favorite horror movie for years and years on VHS and all of sudden experiencing it on a 4K Blu-ray. It’s jarring, but evokes memories of how you remember experiencing it.

In addition to overhauled but faithful visuals that keep the original tone, Nightdive has gone the extra mile and added modern features like an FOV slider and head bob disabling. These not only make the one fiddly N64 game more accessible but far more enjoyable to play. 

With Turok 3: Shadows of Oblivion, the original Turok trilogy is now fully playable on modern systems. Though never reaching the heights of popularity of games such as Doom, Quake, or Goldeneye, Nightdive has ensured these games can be enjoyed by modern audiences or anyone looking to revisit the past. This is an exceptional remaster and should set the standard of what we expect going forward. Also, somebody give us a new Turok game. Please.

Review code provided by the publisher.

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From the outset, Ghostrunner II feels more story focused. Set right after the events of the first game, the sequel sees players stepping once again into the role of Jack, a cybernetic free running ninja, the type of character you would see if you looked up “cyberpunk” in the dictionary. After assassinating the big bad of Dharma tower, Jack is forced to venture out into the city and deal with the direct fallout of doing so and as you can expect that involves a lot of freerunning and a LOT of dying. While there is a bigger story focus, I’ll be damned if it made any sort of impact on me. Often Ghostrunner II runs into generic Cyberpunk genre tropes and often the story feels like it’s only there to get you from point A to B.  

Which is ironic because that’s what most of Ghostrunner II boils down to. Going from point A to B. Gameplay in Ghostrunner II is fast and frantic. With little preparation you’ll be tasked with wall-running and jumping, grinding on rails, grappling to points, and deflecting bullets all in the name of pure adrenaline. Sometimes it can be overwhelming and dying in one hit can be insanely frustrating, but perhaps the best feature of Ghostrunner II is its “Tony Hawk” style of respawning where it puts players right into the action to try again. This paired up with a very generous checkpoint system makes the whole experience less frustrating and soon you’ll be able to recognize patterns in combat and traversal to turn once impossible runs into dazzling displays of ninja mayhem. Though I can’t help but think that sometimes Ghostrunner II asks a bit too much of players. There were a few moments where I felt like I hit a wall until I tried a different approach in the more open-ended levels. Even with that advantage, it always felt like it was spinning 4 plates and whenever I made the slightest mistake it would all come crashing down.

This gets amplified in boss encounters and the new motorcycle segments that feel like the ultimate test of everything Ghostrunner II throws at you. These are also when I felt most frustrated with the experience as a whole. While I had freedom to tackle situations how I saw fit in the open free running levels, bosses and motorcycle levels felt like frustration city as it was all about pattern recognition and the moment I deviated or slipped up from what the game wanted me to do, I was punished. I don’t think it’s particularly good game design to have open-ended gameplay bookmarked by tailored encounters (the original version of Deus Ex: Human Revolution comes to mind for the same reasons). Combat is a little basic as well; despite having some options, most of it boils down to blocking and smacking enemies with the sword. 

What I will praise though is the art direction and visuals. Ghostrunner II has a killer cyberpunk style that would make even Philip K. Dick blush as its neon soaked visuals provide breathtaking sights over the course of its levels. I played the majority of my time on the PS5 in performance mode and was constantly amazed at how well the game keeps up with the fast paced action. Ghostrunner II also features a killer soundtrack that I never grew tired of despite having to hear it over and over upon repeated attempts to progress through the game.

Ghostrunner II is a game that I respect. I totally see the appeal of nailing the perfect run and becoming a ruthless ninja in a dystopian world. But moments like that are often buried under a sea of frustrating deaths and mental flow charts about what to do. Ghostrunner II at times feels more like work than fun. It feels tailor made for the gamer that wants a no-frills experience and to just jam out on some cyberpunk insanity. If that sounds like your thing, you can’t go wrong with Ghostrunner II. But unfortunately for me, I’ll move on to the next thing.

Review code provided by the publisher.

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So what is Quantum Error? The game tells the story of Captain Jacob Thomas, a mercenary turned firefighter in the futuristic year of 2109. Society is far more advanced and has an over reliance on the use of Artificial Intelligence for day to day functionality. Certain occupations such as fire fighting and EMT services still require the use of flesh and blood humans. When he and his crew are sent to an offshore facility for a search and rescue, things turn into a fight for their lives as strange happenings begin to unfold.

It’s admittedly a topical premise with the debate over the use of AI vs. the use of humans in various forms of work but it soon crumbles into window dressing to hit all the tropes of the survival horror genre. There was potential to explore real world fears and make a truly chilling experience but as it stands, Quantum Error fumbles this premise hard and does little to stand out from other genre counterparts. The story has weak characters and nonsensical storytelling that proves to be a hindrance to the entire experience and little motivation to see it through to the end.

Gameplay doesn’t get much better as the game’s deeper problems begin to peer out from the tutorials. From the opening mission, the shooting mechanics feels very stiff and unintuitive. At times it felt like I could aim and shoot something and my shot would miss not because of my skill but because of the physics of the game. Everything feels off and almost like the shooting mechanics could’ve spent more time in the oven. The main star of the show gameplay wise is the firefighting side of things that will see players use a variety of tools such as the jaws of life, water hoses, an ax, and various crowbars. Quantum Error is at its most interesting when it’s a firefighter simulator. It’s fascinating to me that there’s never been a game to simulate the real life work of a firefighter such as clearing out a room full of smoke before opening a door to avoid a dangerous backdraft, and carrying out a pedestrian while staying close to the floor.

Quantum Error takes these real life situations and tactics and applies them to a video game with a good degree of faithfulness but none of it is fun to play. It’s not fun to fiddle with Quantum Error’s horrendous menus to find the right tool for the job. It’s not fun to question if I have my gas mask on or am crouching due to the lack of basic UI to convey information to the player. It’s not fun to sit at a station swinging a sledgehammer repeatedly to try and hit a target at a precise angle to progress through the tutorial. None of it is fun nor makes for engaging gameplay. 

Things take a turn for the worst when the game remembers that it’s a survival horror game. Over the course of the game Jacob will be put into life or death situations that require him to use stealth and combat; this is the point where Quantum Error falls apart like a tower of Jenga blocks because stealth is straight up broken to the point that every encounter turned into a mad dash to see if I could smack the enemy with a fire ax before they could see me and alert others. I expected Quantum Error to be a cosmic sci-fi horror of some sort but instead what I got was a slasher video game starring me as a crazed lunatic firefighter that would run around chopping heads off as fast as I could.

Visuals are another department where Quantum Error fumbles. The game was one of the first “Next-Generation” horror games announced before the PS5 even came out. Unfortunately the graphics are nothing to write home about and the game often looks like a late PS4 title covered in particle effects to hide all the stiff and lifeless animation and faces. Nothing about this game feels like an evolution. It’s especially funny how in the tutorial the “training” area is nothing but untextured placeholders that are disguised as environmental design. It’s absolutely baffling. While I’m on this point I need to also bring up that the game has zero subtitle options and lacks the ability to turn off a CPR mini-game where you blow into the controller’s microphone. These should be bare minimum accessibility standards and go to show that Quantum Error is lacking in vital functionality.

I do not recommend Quantum Error. It’s a lite firefighter simulator that’s disguised as a survival horror game and is a failure on nearly every level. Yeah it’s impressive that a game of this scale was made by a team of only four people but when you lack basic functionality and UI elements, decently designed encounters, a coherent story, or even some scares, something has gone horribly wrong. Save the 80+ GB hard drive space and avoid Quantum Error.

Review code provided by the publisher.

The post ‘Quantum Error’ Video Game Review – A Frustrating Experience on Almost Every Level appeared first on Bloody Disgusting!.

I’m wildly pleased to say that RoboCop: Rogue City changes all of that.

Developed by Teyon (known for their work on the underrated Terminator: Resistance), RoboCop: Rogue City seeks to fix the past. Not only by putting the players authentically into the role of Alex Murphy himself, but also by delivering an experience in line with the first two RoboCop films. At times, Rogue City even feels like playing a long lost film in the series. 

Rogue City puts players in the shoes of Alex Murphy aka Robocop (voiced by a returning Peter Weller) in a story set not long after the events of Robocop 2. Working with his partner Anne Lewis, the tutorial has them storming a new station that’s been taken hostage. This is where Rogue City’s commitment to authenticity begins to shine. While most modern first-person shooter games may put an emphasis on high speed movement and agility, Rogue City sees players become a slow-moving tank. Robocop can’t even jump but that doesn’t take away from the absolute thrill of entering a shootout and taking on damage while delivering out pure violence. Gunfights are chaotic and gory and often feature enemies being turned into a bloody red mist and the environment looking like an absolute warzone after every encounter. RoboCop has a few tricks up his robotic sleeve in the form of “RoboCop vision,” which mimics his point of view from the original films but has tactical use in Rogue City. RoboCop’s Vision allows him to highlight enemies and points of interest in a chaotic environment. In gunfights, this is extremely helpful. 

While players will be able to take loads of damage, Murphy is never invincible. You can carry up to 3 repair packs at any given time but to use these you have to be stationary and hold down a button. Even then they only heal a partial amount until you make some focused upgrades. Combat uses basic firearms from pistols to assault rifles and heavy machine guns. Though most have limited ammo, players will always have access to Murphy’s auto pistol that has unlimited ammo and is just as destructive as it is in the movies, able to blow off limbs into a bloody pulp with ease. Murphy is also able to pick up various items and even enemies and is able to throw them with such force that explosions of fire and flesh easily fill the screen before you know it.

Soon after the opening mission is where Rogue City shows its true colors and where I was fully sold on the idea of a RoboCop game. After a brief visit to a wonderfully recreated police station from the films, Murphy is assigned to his first case that takes him to a seedy district in old Detroit. The district is fully explorable and tasks players with patrolling the streets in their own way. In these smaller environments I was able to explore and find other crimes to solve, ranging from murder investigations to stolen car retrievals and random crimes. Make no mistake, Rogue City is not a massive open world with tons to do but Teyon has gone the extra mile to help flesh out their rendition of RoboCop’s world in loving detail.

Investigations are fairly simple and straightforward but their writing stays true to the original films. Player choice also plays a factor into some of these missions. RoboCop has the decision to either issue a warning or arrest someone and that factors into his prime directives of servicing the public trust and delivering justice. Sometimes it feels good to maybe not write that ticket or make an arrest in the name of gaining public trust and seeing how civilians interact with you. I never felt like it made a huge impact on the overall experience but it’s a nice touch nevertheless, and allows for exploration of themes such as gentrification, drug addiction, police brutality and the cult of celebrity. 

There’s an upgrade tree as well. Almost out of necessity to mix up the gameplay. It has basic features like increased health but also some interesting additions like an engineering tree that will allow Murphy to get into safes and other lockboxes or a decipher skill that will allow him to notice more in his environment or crime scenes. There’s a good amount of player freedom in the type of build you want but when most situations boil down to a violent and slow gunfight, there’s little incentive to make choices off the beaten path.

Playing the PS5 version in performance mode I never noticed any performance issues that hindered gameplay. Sometimes the framerate would hitch up a tad when there was a lot going on on-screen (happens more often than you think) but it never lasted more than 1-2 seconds. Environments are surprisingly detailed and have reflective surfaces offering a level of detail that is impressive from such a small team. Character models also look fairly well done, especially those that recreate actors and characters from the films in loving detail. It’s just a shame that sometimes the animation and cinematic angles don’t put them in the best light, and at times they look to be puppets on strings in their movement and expression.

So RoboCop: Rogue City isn’t perfect. Far from it. The slow and repetitive combat, and basic investigation work have their novelty wear off after a while. The basic open-hub is nothing you haven’t seen done better in other games and the writing isn’t always the greatest. But I can’t help but be charmed by RoboCop: Rogue City. Teyon set out to deliver an authentic RoboCop experience and with all odds stacked against them, they delivered on everything they set out to do. It’s rare that you even come across a good licensed RoboCop game but it’s even better when you get one that treats the IP with the respect and care that it deserves. For all its faults, RoboCop: Rogue City is very obviously a labor of love. In a gaming sphere where lifeless video games are commonplace, I have to give RoboCop: Rogue City credit for being an outlier that finally delivers on the premise of properly adapting the classic films to the world of gaming. 

Review code provided by the publisher.

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Visually, World of Horror is a lot to take in. The game employs a 1 or 2-bit art style that instantly evokes feelings of booting up a game from a floppy disk. From here I was overwhelmed with menus upon menus upon more menus. Thankfully choosing the “normal” difficulty activates a brief but intuitive tutorial that walks you through every element of the user interface. Before I knew it, I was off to the races and falling deep into the World of Horror.

World of Horror tasks you with solving five mysteries before the rise of an old god. You’ll be given an entirely disposable character and put into terrifying situations such as investigating a cult at a festival or your uncle’s funeral where something strange is afoot. Gameplay in these scenarios involves you going from environment to environment and having a random set of encounters that will either help you or hinder you in your journey to stop the old god from rising and (presumably) ending the world. 

It’s a simple set up and execution. A lot of World of Horror feels like a randomized tabletop role-playing game. Enter a situation, read a description, make a skill check (aka dice roll), see the results and move on. It quickly establishes a rhythm that’s addicting and had me on edge wondering what was around every corner.

Combat in World of Horror is no-frills action. Encounters play out in a turn-based fashion where the actions you choose will be queued up and executed based on the amount of action points you have. For example: my character is equipped with a baseball bat and I enter a combat encounter with a horrifying creature. I select “normal hit, “attack boost” and finally “strong hit, which uses up the last of my action points. Hitting “execute” causes all of my actions to play out and allows the monster to respond before I can issue more commands. This is also where the random RNG and calculator comes into play as the game will decide when your attacks or spells hit and when they don’t; same goes for every single foe you’ll be fighting.

It’s these elements that add up together to make World of Horror play less like a video game and more like a board game like Arkham Horror with a bigger emphasis on random encounters than traditional storytelling.

When playing through the campaign you’re at the mercy of random encounters and events, to the point that a run may last you anywhere from 2 hours to 10 mins depending on your luck. You can try to play as smart as you can but sometimes World of Horror just deals you a shitty hand and before you know it you’re hitting restart on your campaign. If you’re expecting a deep or engaging piece of storytelling, World of Horror will not provide that.

World of Horror is a delightful experience if you know what it is going into the game, however. It recreates the feeling of those obtuse text-based adventure games combined with the feeling of a brutally difficult board game. Though it wastes its storytelling potential by having a random nature, I can’t help but be charmed by its killer art style inspired by Junji Ito and H.P. Lovecraft. World of Horror also has an addictive nature that kept me engrossed and clicking through to the end. 

World of Horror launched October 19 for the PlayStation 5, PlayStation 4, the Nintendo Switch and PC via Steam, GOG and itch.io.

Review code provided by the publisher.

The post ‘World of Horror’ Video Game Review – Text-Based Horror Experience Channels Lovecraft and Junji Ito appeared first on Bloody Disgusting!.

Alan Wake II is an absolute enigma of a game. At times it feels like a direct continuation of that story that ended 13 years ago, at times it feels like an absolute reboot that detaches itself for long enough to tell a standalone story, and still other times it feels like one of the most frightening horror games I’ve ever played. If that sounds a bit ambitious, that’s because it is. Alan Wake II is a labor of love that often feels like the greatest hits of Remedy’s games from the last 20+ years. 

Alan Wake II appropriately picks up 13 years after the original 2010 game. This time the story follows a new main character: Saga Anderson. A no-nonsense FBI agent sent to investigate a series of gruesome murders that have been happening in the town of Bright Falls (the setting of the original Alan Wake). Here Saga and her partner Alex Casey (played by Remedy’s very own Sam Lake) will investigate crime scenes, collect evidence, and explore the town and surrounding lake.

Saga’s gameplay is very investigation based. Once players gather clues they’ll be able to travel to Saga’s “Mind Palace,” a manifestation of her Bright Falls lodge, to examine clues and piece together the case. What’s super impressive about this element of the game is the fact that players can access the Mind Palace at any time as if it were just another menu; but it’s a fully explorable and usable environment. I found myself looking forward to returning trips to the Mind Palace so that I could lay out all of my clues and piece their connections together, which are displayed in an old-fashioned pin board style with lines of thread connecting different people, places, and events. 

Soon Saga’s story takes a turn for the worst and she’s thrown into a life or death situation that will put her combat skills to the test. Unlike the first Alan Wake which was more action-adventure based when it came to gameplay, this sequel leans heavy into the survival horror genre. Players will have to be mindful of all of their resources as they fight enemies that usually take the form of “shadow” monsters like the ones from the original game. Using Saga’s flashlight, you’ll have to focus light onto an enemy to weaken them and then unload her firearm into them. Being designed around resource management, these combat encounters are harrowing experiences that often only left me with a single bullet or battery charge. Gone are the days of ammo refill boxes and you’ll have to make the most of what you find out in the world. The combat is weighty and heavy with an excellent dodge mechanic. Fans of the modern Resident Evil games will have adjusted to the combat mechanics of Alan Wake II in no time.

Saga will also come across puzzles as she explores the world of Bright Falls. These can range from simple puzzles such as finding the combination to a lock or even something more involved such as finding dolls to place in correct positions at numerous sites. Alan Wake II’s puzzles are never obvious but instead leave the player to figure out clever ways to solve them. Admittedly there were a few I was stumped on, but only for a few minutes. As long as the player is paying attention to their surroundings, the puzzles shouldn’t be very time consuming. 

As if this game wasn’t massive enough, there’s an entire half where you play as Alan Wake as he’s trapped in the Dark Place. For story reasons that I won’t spoil here, he’s been trapped in this realm since the end of the original game and his and Saga’s story tie together in very meaningful ways. Alan Wake II’s story is a complex puzzle that seems confusing from the outset but every piece fits together in a meaningful and fitting way. I cannot overstate how impressive it is to see such a complex game come out that trusts its audience with fully understanding the nuanced storytelling it presents.

Alan’s segments see him explore the Dark Place, a twisted version of New York City that he hopes to escape once and for all. Here he’ll encounter shadow monsters of his past but will also manifest changes in the world based on a story he’s writing. See, Alan has something similar to Saga’s Mind Palace; he has the Writer’s Room. A desolate room with a single desk and typewriter where he’s able to plot out what happens next. As he navigates the Dark Place, he’ll come across events that will give him inspiration called “Words of Power.” Using the Words of Power in his writer’s room, Alan is able to pair them up with environments he’s explored to further progress in the Dark Place. For example there was a subway car blocking my way but Alan had a moment of inspiration that allowed him to write about a fire in the car. Using these Words of Power with the subway car blocking his path, he wrote his story and the subway car caught fire and burned out, allowing him to travel through it to the other side. 

Alan’s side of the narrative is where Remedy takes risks in their storytelling. The Dark Place is no stranger to odd beings and dangerous situations but Remedy pulls out all of the stops. There are live-action segments that are expertly integrated into the story rather than bookends like they were in Quantum Break. They feel like a vital component to the storytelling and help convey the feeling of uneasiness that Alan is experiencing throughout. There’s also a meta narrative that’s a huge callback to the Max Payne games that longtime fans will appreciate as never once did it feel pandering but instead like a celebration of everything Remedy has done up until this point.

Alan and Saga’s narratives interweave in ways that I thought not possible in gaming as a medium. It feels like binging an entire season of a TV show that takes the best parts of Twin Peaks, The X-Files, True Detective, and The Twilight Zone. On paper, absolutely none of it should work after a 13 year gap but Remedy pulls it off in spades. Another aspect that Alan Wake II improves on is tone. There was a dichotomy in the original game where the story it presented clearly wanted to be horror but the gameplay lent itself more to action and gunplay than anything else. I’ll be the first to admit that I was turned off by the original game’s execution and consider it to be one of my least favorite Remedy games, but this sequel and how it leans more into Survival Horror at times feels like the way the Alan Wake series was always meant to be. 

The tech on display throughout the game is absolutely astounding. From seeing Alan’s environment change before his very eyes to Saga being able to transport from her Mind Palace and back in an instant without a single loading screen is impressive on so many levels. Alan Wake II is a game that asks for player participation and never holds your hand or insults your intelligence but instead offers one of the most rewarding experiences in next-gen gaming. I spent my time on the PS5 version of the game in performance mode and was constantly impressed with its performance and visuals. Remedy has stated on numerous occasions that they’ve taken a great amount of care when it comes to the console versions of the game and there’s no doubt in my mind that it is the case after my time with the final product.

Alan Wake II is an impressive game on nearly every single front. From its intuitive detective gameplay, to the environmental puzzles. From its interweaving narrative to its use of multimedia in storytelling. At many times during my time with Alan Wake II I was in disbelief at what I was playing, not only from a storytelling aspect but a technical aspect as well. Remedy could have easily delivered a safe sequel to a game from over 13 years ago, but instead they delivered something truly remarkable. Remedy proves with this game that they are an absolute force to be reckoned with. In a year loaded with fantastic survival horror experiences Alan Wake II is an absolute must play and easily one of the year’s best games. I can’t wait to experience it again.

Review code provided by the publisher.

The post ‘Alan Wake II’ Review – A Remarkable Achievement in Survival Horror Gaming appeared first on Bloody Disgusting!.

Sometimes all you need is a table top, some friends, and a great game.

I’ve played a lot of horror tabletop games over the years, some great, some bad, but the ones on this list are the ones that I urge horror fans to try out. These ones in particular aren’t too rules heavy and are perfect for beginners. They’re also perfect for Halloween game night… 

Alien: Fate of the Nostromo

Back in 2021, Ravensburger put out this tabletop gauntlet that aimed to recreate the intensity of the first Alien film and I think they succeeded. In Alien: Fate of the Nostromo, players will take on the role of the crew from the iconic 1979 film and task them with completing objectives to unlock a secret goal while dealing with a monstrous Xenomorph roaming the halls of the ship. When encountering the unstoppable Xenomorph, the crew’s morale will drop; and if it drops below a certain level, it’s game over, man!

What makes Fate of the Nostromo so great is how accessible it is while remaining a challenge, allowing players to use resources to craft items to help them survive and make certain objectives easier to accomplish. The game is also modular with included solo and high difficulty modes. Any fan of the Alien franchise needs to have this one in their gaming collection.

Bloodborne: The Card Game

Gaming company Cool Mini Or Not released this tabletop version of the popular PlayStation game all the way back in 2016. I’ve never been a fan of tabletop adaptations of video games but Bloodborne: The Card Game is so simple and fast to play that it’s become a game that I use to introduce new people into the hobby.

The game sees players building a random “chalice dungeon” deck of monsters and a final boss encounter; when a monster is revealed, players will play weapon cards from their hands and collect blood tokens for the damage they inflict. The player with the most blood tokens at the end of the dungeon wins, but the challenge comes from the monsters fighting back using special dice to attack. When a player dies (and trust me they will) they lose all of their blood tokens that they haven’t banked and have to begin the cycle all over. Bloodborne: The Card Game is a terrifying push and pull of risk and reward that belongs on everyone’s tabletop, regardless if you’re a fan of the video game or not.

Escape From Tall Oaks

A spin-off of Bright Light Media’s wildly popular Mixtape Massacre game, Escape From Tall Oaks puts players in their very own slasher film as they attempt to navigate the namesake town and rescue innocent civilians (and themselves) from bloodthirsty maniacs. The game also takes heavy inspiration from the slasher movies you love, all dressed in a killer ’80s aesthetic. Escape From Tall Oaks is simple to learn and play but not easy to win. This game hits the table often for me while marathoning my favorite slasher films.

Bright Light also supports the game with numerous expansions and full compatibility with Mixtape Massacre, so there’s absolutely no shortage of carnage to have with this entry.

Horrified

Let’s get something out of the way: Horrified rules. This board game from Ravensburger sees players running through a setting with specialized characters as they save innocents and encounter famous monsters. Imagine it like a streamlined version of Eldritch Horror where strategy and planning are key in success. Each monster has a specific set of goals and mechanics so when mixing and matching most of your games will play out differently. There’s even a difficulty scaling mechanic and solo rules so you don’t even need another player.

The first (and best) version of the game is themed after Universal’s Classic Monster line and features gorgeous art inspired by the classic line of films that builds a giant heaping of atmosphere. The other versions based on American Cryptids and Greek Monsters are no slouches either so if one flavor isn’t to your liking, there’s another version you might be into. 

Scream: The Game 

One of the more recent releases from Funko Games, Scream: The Game is a blast at parties. Scream tasks players (or victims, as the game calls them) with searching/trading for items to complete scenes. Sounds easy enough, right? Well it is until Ghostface starts calling players using the downloadable app and begins to stalk and hunt you down. The game takes place over a fast paced 20 minute time limit that will have players scrounging as fast as they can in hopes of surviving long enough to be in the sequel.

Oh did I mention that Ghostface is voiced by none other than Roger L. Jackson? That alone makes this game worth buying for Scream fans.

Betrayal at House on the Hill

This Avalon Hill game is a bonafide classic. Betrayal at House on the Hill has players exploring a randomly generated haunted house uncovering its mysteries and omens. When a set number of omens are discovered the “haunt” begins, which will turn the exploration gameplay into objective based with a randomly chosen scenario that may or may not pit players against each other. That’s what appeals to me about Betrayal at House on the Hill; you never quite know how it’s going to play out, which adds a ton of replayability.

This game is also available in numerous different variations such as Scooby-Doo, Dungeons & Dragons, and even a “Legacy” version that turns it into a campaign meant to be played over multiple sessions. Pick your poison!

Mork Borg

Though not a conventional board game per se, Mork Borg is a tabletop role-playing game that absolutely deserves to hit the table this Halloween season. A rules-light game modeled after the early days of Dungeons & Dragons, Mork Borg takes place in a doom metal inspired dying world where death is just as simple as character creation. The base rulebook has a starting adventure called “Rotblack Sludge” that is a great introduction to the mechanics of the game and there are endless online resources that can help players get a session up and running in a single evening.

The core rulebook also doubles as a gorgeous art book with some horrific imagery sure to bring some dread to your coffee table. Get together, roll some dice, and enjoy the end of days.

The post Halloween Game Night: 7 of the Best Tabletop Games for Horror Fans appeared first on Bloody Disgusting!.

What really makes Web of Wyrd stick out is its killer art style that brings to life the gorgeous comic book art by Mike Mignola. With this visual standpoint, developers Upstream Arcade have collaborated with Dark House and Mignola to craft a wholly original Hellboy story set in the world of the comics. While most fans’ first exposure to the world and character may have been the films over the years, for many this may be their first foray into the world of the comics.

As such, we’ve prepared this primer for everything you need to know…

Who is Hellboy?

Born Anung Un Rama, Hellboy is the son of a human witch and Azzeal, an Archduke of Hell. His hand was replaced as an infant with the “right hand of doom,” a massively heavy stone hand that will serve as the catalyst for the end of the world. Summoned to earth as a child in 1944 by Rasputin and the Nazis, hoping to turn the tide of the war with a demon under their control, he’s soon discovered by the Allied forces and Trevor “Broom” Bruttenholm. Upon his discovery, Bruttenholm takes him back to the United States and raises him as his own. Hellboy eventually joins the Catholic faith and the B.P.R.D to protect the world from forces of darkness that threaten our very existence with the lingering prophecy of his true purpose looming over his head.

In the new video game, Hellboy is voiced by the late Lance Reddick.

Who the hell are the B.P.R.D.?

The Bureau for Paranormal Research and Defense. Founded in 1945 by Broom Brutenholm to combat the supernatural and occult threats from Nazi Germany, the Bureau is the world’s defense from the unknown. Over the years the B.P.R.D. has stopped numerous threats such as the Wild Hunt, the Baba Yaga, Rasputin, and other monstrosities. The group is made up of various field agents and Hellboy himself. The Bureau has also recruited people with remarkable abilities to aid in their fight such as Liz Sherman and Abe Sapien. Hellboy and the B.P.R.D. infiltrate the Butterfly House in Web of Wyrd, but soon encounter a larger threat than they ever imagined. Picture them as a cross between police officers and the Ghostbusters.

What makes the Hellboy comics different from the movie adaptations?

The Hellboy comics are an entirely different beast from the films. They revel in the darker side of storytelling and often wear their horror and gothic influences on their sleeve. Eventually the comics bring in more fantastical elements inspired by folklore throughout the world, always expanding the world these characters inhabit. Though the films are action heavy, the comics slow things down and portray Hellboy as a grizzled yet compassionate person; often taking the time to talk his way through situations and only use violence when absolutely needed. Mike Mignola’s tales provide an interesting take on the “traditional” superhero comic and allow for some wonderful storytelling. Mignola has been the main writer and artist on the Hellboy titles and he was able to give the series a satisfying closure with a long-planned ending. 

What makes ‘Web of Wyrd’ special?

Web of Wyrd is the first time in Hellboy’s history that a video game has brought Mike Mignola’s unique art style to life, giving players a chance to fully immerse themselves in this world. It also tells an original story that Dark Horse Comics and Mike Mignola helped craft, fitting it perfectly into Hellboy canon. Whether you’re a longtime fan or dipping your toes into this world for the first time, Web of Wyrd’s addictive gameplay and meaningful story are sure to keep you hooked.

Stay tuned for Bloody Disgusting’s review of Hellboy: Web of Wyrd.

The post ‘Hellboy: Web of Wyrd’ Primer – Everything You Need to Know Before You Play the New Video Game appeared first on Bloody Disgusting!.

Most of them are… not good. And none of them have come even close to William Friedkin’s original classic. But that’s okay. Because the reality is, nothing ever will. 

Let’s rank every single follow-up film (plus the TV series) from worst to best…

6. Dominion: Prequel to The Exorcist (2005)

Is it a controversial take to say that I find the “true” version of the official Exorcist sequel to be an absolute bore? For those not in the loop, Morgan Creek Productions began developing a prequel film that would tell the story of Father Merrin’s (Stellan Skarsgård) first encounter with the demon Pazuzu. Acclaimed filmmaker Paul Schrader (Cat People, First Reformed) was recruited to direct and it was off to the races with this unneeded horror prequel. There was just one tiny issue: Morgan Creek hated the final product, which they felt wasn’t scary enough for audiences at the time. So they retooled the entire film and shelved this original version until Exorcist: The Beginning bombed at the box office and in critical reviews. In its wake, Dominion was released.

Paul Schrader’s Dominion: Prequel to The Exorcist has a lot of interesting ideas and the film does have its bright spots but I just can’t get over how much of a slog it is to get through. If there’s anything I hate worse than a bad film, it’s a boring one.

5. Exorcist: The Beginning (2004)

Ah yes, Morgan Creek’s retooling of Dominion. For this overhaul they brought in director Renny Harlin (Nightmare on Elm Street 4, The Long Kiss Goodnight) who suggested to the studio that they rewrite the entire script, hire a whole new cast (Stellan Skarsgård stayed), and put more emphasis on gore and action. So what was the result of Morgan Creek essentially remaking the entire film? Probably the nastiest and most mean-spirited film in the Exorcist series.

The Beginning is by no means a good film but I have to respect its commitment to its tone and some of the visuals involving the buried church and upside down crosses are metal as hell. The Beginning also features a completely out of pocket introduction sequence that left me in disbelief the first time I watched it. At the end of the day, we still never got a good Exorcist prequel out of the two-movie experiment, but this one is at least pretty entertaining.

4. Exorcist II: The Heretic

Yes, it was absolutely a fool’s errand to even attempt a follow-up but what we ended up getting is not entirely without merit. Exorcist II: The Heretic has some pretty good ideas and concepts. Sure, its execution leaves a lot to be desired but there’s something to be said for The Heretic exploring human consciousness and the more scientific side of possession. The Heretic follows Regan MacNeil (Linda Blair) in the aftermath of her possession that she has no recollection about. This eventually leads to a visit from Father Lamont (Richard Burton) who is sent to investigate the circumstances of Father Merrin’s death from the original. What follows is a strange blend of religious and scientific beliefs that ultimately culminates in all hell breaking loose.

Notoriously hated at its time of release (supposedly Warner Bros. executives were chased down the street by angry filmgoers), The Heretic remains a fascinating attempt at a sequel.

3. The Exorcist III

It may be called The Exorcist III but this 1990 sequel straight up ignores the events of The Heretic and operates as a follow-up to Friedkin’s film. Originally titled Legion and directed by original Exorcist author William Peter Blatty, the film tells the story of Lt. Kinderman (George C. Scott) as he investigates a series of blasphemous murders that seem to be the work of “The Gemini Killer,” a serial killer who was executed the night of the original The Exorcist film.

The Exorcist III absolutely rules. No matter what version you watch, this third installment delivers on an overwhelming sense of dread and some of the greatest jump scares ever put to film. It’s also worth watching for Brad Dourif’s unhinged performance alone. The Exorcist III didn’t need to be in the Exorcist series, but I sure am glad it is.

2. The Exorcist: Believer 

Put down the pitchforks and hear me out. The Exorcist: Believer is the kind of sequel that offers up a thematic companion to the original film. Whereas the original Exorcist is about a mother’s turn to faith out of desperation of saving her demonically possessed daughter, Believer poses the questions of why we as humans turn to fellowship and religion in times of crisis, especially when in the end it won’t matter. Believer is at its best when it’s exploring the human drama that made the original film so great, using familiar set-ups to explore new concepts such as double possession and living life as a skeptic. Unfortunately the film falls apart when it’s forced to be a “legacy” sequel to The Exorcist and ends up regurgitating a lot from the original classic.

For as much as I enjoy this new entry, I can’t help but feel some of these themes and concepts were better explored in our final entry on this particular list… 

1. The Exorcist (TV Series)

I know what you’re thinking. ‘Wait, that random TV series that FOX did a few years back?’ Yes, that one. The Exorcist television series is not only a great follow-up to the original film, it’s also one of the greatest horror TV series to ever exist and remains deeply underrated five years after its cancellation. The series follows a pair of Catholic priests, Father Thomas Ortega (Alfonso Herrera) and Father Marcus Keane (Ben Daniels), as they investigate and exorcise cases of demonic possession. At first the series seems like a reboot of sorts to the saga, but it’s eventually revealed that it is in fact a sequel to the original film and ties into it in multiple meaningful ways.

If you haven’t seen The Exorcist series, I highly implore you to watch it immediately. It’s scary as hell with fantastic storytelling and one of the greatest twists/reveals in modern horror.

The post ‘The Exorcist’ – Ranking Every Franchise Installment Beyond the Original Horror Classic appeared first on Bloody Disgusting!.

So just what the hell is Trepang2? The game is the debut project of Trepang Studios and sees players take on the role of Subject 106 as he awakens in a black site for the sinister Horizon corporation where they were experimenting on him. With no knowledge of how he got there or what they did to him, he makes a grand escape that acts as the game’s tutorial level. From there 106 links up with Taskforce 27, a group of mercenaries who seem hellbent on taking Horizon down. Together they’ll destroy various black sites filled with unspeakable man made horrors.

This is where Trepang2 kicks into high gear as the gameplay is insanely fast and bloody. 106 can slide into his enemies, knocking them off their feet, and is equipped with the abilities to slow down time and cloak himself. I cannot overstate how absolutely satisfying it is to slow down time and slide into a group of enemies and turn them into a goopy red mist of gore before they even hit the ground. When using his cloaking device, 106 is able to sneak up on unsuspecting enemies and use them as body shields, kill them, or attach a grenade to them and throw them into an unsuspecting group of enemies. One of my absolute favorite abilities though is the brutal as hell drop kick. While meleeing in the air, 106 will stomp his foot on the nearest enemy. It was a habit of mine to slow time, jump in the air and rain my foot down on someone and blast them with a shotgun. 106’s toolkit offers an impressive amount of player freedom. It’s like Trepang Studios saw the abilities from F.E.A.R. and set out to crank up the violence to 11.

Trepang2 is never bogged down by modern trappings of the shooter and instead gives players high speed and the tools to create their own carnage. It gave me the same high as playing Doom (2016) for the first time ever. The only modern trapping that the game falls into is the weapon system. Players can only carry two weapons at any given time and I can’t say I’m the biggest fan of that approach. If 106 can fly through an environment at blistering speeds delivering carnage at every single turn, why in the hell can’t he carry more than two weapons? I wish the game had a weapon wheel of some sort like old-school shooters, but alas I’m stuck with the two weapons I decide to hang on to (pro tip: keep that shotgun).

The level design isn’t the most inspired either, often relying on combat arenas connected through tunnels. It works for the type of game this is but I would’ve liked to see a bit more inspiration in this department. Trepang2 attempts to have a mission base where players can launch into various missions and customize weapons. I never did quite see the point to this entire area and I felt as though it killed the pacing when frantically moving from one level to another. Why are modern shooters obsessed with doing stuff like this?

Where Trepang2 does shine is in tone. Enemies die in horrible gory fashion and environments take a good amount of damage from gun fights. Missions take on a sense of overwhelming dread with dark horror inspired areas and violent shootouts. In some twisted way Trepang2 feels like if John Woo made a bona fide horror film and this had me grinning from ear to ear. Talking briefly on performance, the game ran at a smooth 60fps for me most of the time. The only times I noticed brief slowdown were when there was too much action on screen; trust me, you will hit moments like that but they’re never long enough to have a negative impact on the experience.

Trepang2 absolutely rules. It never reaches the highs of F.E.A.R. nor will it replace it but it’s one of the most buck wild shooters I’ve played in sometime. It’s like someone crossed Doom with a John Woo film and gave it a horror-inspired coat of paint. It’s not a combination that should work but provides a lever of insanity I’ve rarely seen in other games. Trepang2 is one of the biggest surprises of the year. If you’re a horror fan, a shooter fan, or just like your games with a heavy dose of insanity, I highly implore you to play Trepang2.

The game is available now on consoles and PC.

Review code provided by the publisher.

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No, not Mercenaries but something added in the original PS2 release that somehow never found its way to the remake. I’m talking about Separate Ways, the story-focused expansion that told the events of the game through the eyes of super agent Ada Wong, Leon Kennedy’s budding romance/rivalry partner. Separate Ways gave players a lot into her motivations of why she was in Europe during the course of the main game and who exactly she was working for. It was an addition that rounded out the entire Resident Evil 4 experience.

Now with this newly released expansion that costs a mere $9.99, Capcom has bought Separate Ways into the modern rendition of Resident Evil 4. Speculation and expectations were high but I’m happy to report that Ada’s story is a damn fine addition to the Resident Evil 4 experience and makes it one of the most well-rounded entries in the franchise. If you have a remote interest in Resident Evil 4, Separate Ways is an absolute must play add-on.

So what’s in this expansion? Players will take on the role of Ada Wong and have access to her entire arsenal of tools. Surface level she may play like Leon but she has a new grapple gun for use in gameplay. For traversal this takes the form of spotting perches that she can grapple up to, which is sometimes very useful for routing enemies. What I liked most though is the grapple’s usefulness in combat. In Resident Evil 4 when Leon stunned an enemy he was able to get up close and personal with a powerful melee attack to decimate enemies. With Ada’s grapple she’s able to do the same but from a distance. When an enemy is stunned with a ranged weapon, the melee attack prompt will now appear from a distance. When executed, Ada will grapple herself to the enemy at high speed and land a devastating attack. It encourages a different and faster style of play compared to Leon; playing as Ada, I found myself moving around areas far more often rather than relying on the tried and true tunneling method that I fell into habit with as Leon. 

Ada also has another new addition in her arsenal in the form of a crossbow able to fire explosive arrows. This is great for taking out groups in a pinch but reckless use of it will leave you vulnerable in the wrong circumstances. This ties into another element I liked about Separate Ways, the focus on stealth. Combat encounters are designed to be tackled in any manner the player chooses but lend themselves more to stealth. For example, I played the opening mission twice. The first time I went guns blazing and was put into a fight for my life by overwhelming enemies and endless attacks from distant catapults. The second time I took a more quiet approach and was able to take out nearly every single enemy without setting off an alarm and pretty much walked out of the entire first mission unscathed. I thought maybe this situation would have been a one off, but Separate Ways provides numerous opportunities to pull off feats such as this.

How’s the story? Well, fans of Resident Evil 4’s campaign will love what’s offered here but it’s more supplementary than anything. I know I called it a vital addition to the Resident Evil 4 experience, just don’t go into Separate Ways expecting any massive revelations that we already didn’t know from before. Hey, if it ain’t broke, don’t fix it. 

Separate Ways is a massive good time. It doesn’t attempt to drastically mix up the formula like Village’s DLC but instead just add ever more to the already massive Resident Evil 4 experience. And at 7 chapters long and clocking in at a playtime longer than the entirety of Resident Evil 3’s remake, it’s all priced at just $9.99. It’s really hard to not recommend Separate Ways as a must play for Resident Evil 4 fans and newcomers.

Resident Evil 4 is out now on PC via Steam, PlayStation 5 and the Xbox Series. Meanwhile, the anticipated VR Mode for Resident Evil 4 will arrive this Winter.

Review code provided by the publisher.

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The aptly titled Archie Horror label branches off from the main comic series to give readers tales of monsters, werewolves, vampires and even satanic cults. These spooky tales evoke the tradition and feeling of classic horror comics such as Tales From the Crypt and The Vault of Horror and remain a quirky highlight in the pantheon of modern horror comics.

But where does one even get started with Archie Horror? Especially with the recent influx of new titles and one shots? Here’s a primer of the best starting titles for those interested in exploring the various chills and thrills that Archie and the gang have cooked up over the years.

Afterlife with Archie

One of the very first Archie Horror titles, Afterlife with Archie tells the story of an apocalyptic zombie outbreak hitting the town of Riverdale, putting Archie and his pals into a fight for their lives. Written by Riverdale creator Roberto Aguirre-Sacasa with art by Francesco Francavilla, Afterlife with Archie delivers on the gore and intensity you would expect from a zombie story, but also delves into other realms of horror such as vampires and even cosmic entities. This title opened the door for Archie titles to explore more horrific settings and is an absolute blast to read. Fair warning: the title ends on a massive cliffhanger that has never been resolved.

Vampironica 

Written by Greg and Meg Smallwood with absolutely gorgeous art by the former, Vampironica sees rich girl Veronica Lodge get infected with a gnarly case of vampirism. Rather than succumb fully to her new powers, she decides to use them to become a vampire slayer and sets out on a hunt for a cure. Vampironica delivers interesting vampire lore but with a distinct Buffy tone and an action set piece inspired by Bordello of Blood. This is also one of the longest running titles in the Archie Horror line as it was followed up by a crossover series and a sequel series.

Blossoms 666

This one is my personal favorite of the bunch. Blossoms 666 sees mean girl Cheryl and her twin brother Jason as the youngest in a powerful family of devil worshippers. What makes Cheryl and Jason so special is that one of them is prophesied to rise up and become the Antichrist. Written by Cullen Bunn and with art by Laura Braga, Blossoms 666 is filled with satanic imagery and rituals and has a genuinely shocking story. Fans of The Witch and Hereditary should definitely seek this one out.

Chilling Adventures of Sabrina Presents: Madam Satan

Sure everybody knows of the mainline Sabrina series after its popular Netflix adaptation, but Madam Satan gives the titular character her time in the spotlight. The book weaves a horrifying tale as Madam Satan sets out to prove she’s the most powerful being in the underworld. Written by Eliot Rahal and with art by Julius Ohta, Madam Satan should satisfy fans of the beloved Netflix show by letting them explore Sabrina’s world for just a little bit longer.

Pop’s Chock’lit Shoppe of Horrors

Pop’s is the beloved diner that became a staple in the series Riverdale. It also serves as the central hangout spot for Archie and the gang in the classic comics where many burgers and milkshakes were consumed. Pop’s Chock’lit Shoppe of Horrors is an anthology comic that reimagines the diner as a house of horrors that takes clear inspiration from films such as Motel Hell. Told by a trio of emerging horror comic authors, Pop’s keeps the ’50s horror comic tradition alive for a whole new generation. 

Camp Pickens

Another anthology title, Camp Pickens takes Archie and his gang to the titular summer camp where they’re given the positions of camp counselors. What starts as traditional summer fun soon turns into an absolute horror show as the curse placed on the camp unleashes ghosts, monstrous bugs, and even a slasher. Fans of Friday the 13th and ’80s horror films will find something to love in the latest title from the Archie Horror line.

The post Archie Horror: 6 of the Best Comics in Archie’s Vault of Horrors appeared first on Bloody Disgusting!.

But CD Projekt Red never gave up on the title. They toiled away on updates and fixes and even launched the long promised next-gen version along with sunsetting the previous generation versions in the “Edgerunners” update last year. It felt like the perfect time for CDPR to move on and delve into a new side of Night City that hadn’t been explored before.

Enter Phantom Liberty, the lone expansion to Cyberpunk 2077 and send off to this tumultuous ride. Where does Phantom Liberty fall? Is it a redemption for Cyberpunk 2077? Does it meet the level of quality that CDPR are known for with their previous Witcher expansions Heart of Stone and Blood & Wine? Is it even fun? I’m happy to report that not only does Phantom Liberty help Cyberpunk 2077 reach new heights with a level of quality reminiscent of CDPR’s previous work, but it also might be one of my favorite gaming expansions I’ve ever played. 

Cyberpunk 2.0

It’s hard to talk about Phantom Liberty without mentioning Cyberpunk 2077’s “2.0 update” that the expansion uses as a framework. 2.0 is available to all owners of Cyberpunk 2077 on current generation consoles and PC (sorry PS4 and Xbox One players!). In this update, the gameplay mechanics have received an entire reworking. 

Skill trees are no longer minimal stat boosts but instead ability based, allowing for more meaningful character builds. Before the update I was a jack of all trades that excelled in hacking that made every combat encounter a walk in the park. Post-2.0 update I found that there weren’t enough points on my body or technical stats, therefore my body could handle less cyberware and cyberdecks. As a result, I was forced to engage far more with combat encounters and spec some body armor into my body using cyberware to help me survive. In 2.0 I felt like I was filling out a character sheet in a table top role playing game, picking and choosing what I wanted to specialize in. With this method, I felt like I was crafting a far more unique character.

2.0 also mostly removes stat modifications from clothing, allowing players to freely dress up how they please. It was always silly that clothing before had stats tied to them and you’d have to wear the ugliest outfits to reap the biggest benefits. 1.6 partially remedies this with a transmog system but 2.0 breaks the shackles fully and allows for full character customization freedom. Though certain items like armor vests will still give minimal boosts, they feel unneeded in this new update.

Perhaps the biggest update in 2.0 is an entire reworking of Cyberpunk’s police response system. Gone are the days of law enforcement spawning right behind your player character and instead 2.0 employs a police spawning system not unlike the Grand Theft Auto games. With a higher star rating, law enforcement will respond accordingly with more force leading up to a MAXTAC encounter at the max level. Out of curiosity, I maxed out my wanted level and forced MAXTAC to arrive and was treated to a mini boss fight against Night City’s SWAT-like forces. It was brutal, deadly, and absolutely exhilarating. Players will also have access to an all new car-combat system that allows them to fire a weapon from the driver’s seat, allowing for chaos on the streets of Night City.

Quality of life improvements have also been implemented across the board including a reworked UI that cleans up the clutter of previous versions, but the health and grenade system are quite possibly my favorite additions. Previously players had to carry an ungodly amount of health items and grenades in their inventories but with 2.0 the items are tied to a cooldown system. You’ll always have access to 2 health items and grenades that are endlessly replenishing on a cooldown. This helps clean up inventory management and allows for intense firefights as I had to take cover while they recharged. This change honestly reminded me of when Diablo III got rid of the need for carrying multiple health potions and made it a cooldown ability. It streamlines a system in a game where you’re already paying attention to many other systems and allows players to engage far more with the actual gameplay than numerous menus.

2.0 is a fantastic update to the game. Even if you don’t play Phantom Liberty, I implore you to download this free update. This feels like the way Cyberpunk 2077 was meant to be played.

Give Me Phantom Liberty or Give Me Death.

Where this relaunch of Cyberpunk 2077 truly shines though is in the expansion Phantom Liberty. The story will see the player character, V, make their way to Dogtown, an all-new district in Night City, in hopes of obtaining a cure for the Johnny Silverhand shard that’s slowly killing them. After a horrible mishap, V is then tasked with rescuing the President of the New United States of America from the dangerous district in a set-up that sounds an awful lot like Escape From New York.

Over the course of the story, V will encounter Solomon Reed, an NUSA agent played by acclaimed actor Idris Elba. I was initially curious as to how much he’d be in the story with him being an A-list Hollywood star, but I’m happy to say he shares the spotlight with V and Johnny Silverhand (played by a returning Keanu Reeves) and eventually becomes one of the most nuanced characters in all of Cyberpunk 2077, brought to life with an expert-level performance from Elba. 

The story in Phantom Liberty is absolutely filled with surprises. When I thought I had the story figured out from its simple setup I was treated to having the rug pulled out from under me with reveals and intrigue that ended up reminding me more of James Bond films than it did Escape From New York. There are scenes and little moments in Phantom Liberty that helped engross me even more into its world and the politics of Night City. It’s easily my favorite narrative that CDPR has delivered. No small feat from a company perhaps most known for their narratives.

Phantom Liberty’s length is also quite impressive. With a huge story that has so many twists and turns, it feels like CDPR is taking full advantage of this being Cyberpunk 2077’s only expansion. There is a LOT of content crammed into this expansion. I found myself in awe at how much there actually is beneath the surface.

Player choice matters far more in Phantom Liberty than it does the base game too. I felt some of the decisions I made in the main story and side gigs had effects in Dogtown that at first weren’t apparent but I later realized made an impact. These can range from making a vital decision in a conversation or story moment to whipping out a weapon and taking out a Dogtown gang leader. There were a few choices I had that made me already want to create another character and replay the expansion to see how things play out differently. Phantom Liberty allows for more opportunities for role-playing, something that I found the base game severely lacking.

There’s also a brand new skill tree in Phantom Liberty. The relic skill tree introduces all new abilities to earn that drastically change the way V plays and has some of the strongest abilities in the game. These can range from adding a shockwave to the gorilla arms cyberware, or even making the optical camo more functional. Though you don’t upgrade the relic tree in the same way you would other trees. Instead Phantom Liberty asks that you find old data caches around Dogtown and use those points to upgrade it. These are scattered all over the district but also aren’t marked on the map, often forcing me to explore off the main path to fully deck my kit out. I welcome this change for two reasons: first, it’s only one skill tree that’s upgraded this way that feels mostly optional and second, the base game never really gave me an incentive to explore Night City. 

Side Gigs make a comeback in Phantom Liberty and your handler will be a returning character from the base game that was provided no closure. Some of these side gigs are the best part of Phantom Liberty and feature stories that illustrate how different life in Dogtown is away from the politics of the main story. These can range from finding a famous braindance model to helping a church-run hospital reclaim their building to help the residents of Dogtown. These gigs are sizable in length, often featuring multiple steps, characters and decisions. CDPR has delivered a wealth of handcrafted content here and I had a blast making my way through most of it.

Dogtown brings a whole new flavor to the world of Cyberpunk 2077. If the rest of Night City provides a depiction of basic cyberpunk ideologies and depictions, Dogtown is far more oppressive and grim. Cut off from the rest of Night City, the district has been untouched by the police departments or corporations that run the rest of the outside world. As a result, Dogtown is a place where the ultra rich live lavishly but those in poverty are worse off than the ones outside the walls. The class divide is far more apparent and reflects how oppressive this world can truly be. Visually, I found Dogtown to be more distinct from the rest of Night City. From a hollowed out football stadium used to house a black market for weapons and other oddities, to the shipping container yard that serves as a home for most of Dogtown’s residents, to ultra high tech hotels that look ripped straight from a Las Vegas pamphlet that houses the most rich and dangerous that the district has to offer. Dogtown may not be the largest of areas, but it’s so densely packed with interiors and exteriors and places to explore that I couldn’t wait to discover what was around the corner. 

Dogtown is also integrated into the existing Night City well. Sure, it’s a walled off portion of the Pacifica district but certain missions and side gigs will see V making their way to the outside of Dogtown and into the main city to make a contact or complete a task. I appreciated these excursions because it provided a great deal of aesthetic whiplash going from the bomb-out war-torn look of Dogtown to the bright, clean look of Night City proper. 

How’s the Performance?

Let’s talk about the biggest elephant in the room: performance. Cyberpunk: 2077 hasn’t had the best reputation when it comes to this, especially on consoles. So how’s the performance in 2023? I spent my time exclusively on the PlayStation 5 version of the game and ran into a mostly seamless experience. Framerate wise I hit 60fps most of the time in Night City proper but there were a few moments in Dogtown that seemed to slow down to around the 40fps range. A noticeable drop but far from unplayable. Even with a lot of action on screen the game hardly ever slowed down in my time with it. I did run into a strange bug when importing my character into the 2.0 update, causing me to lose my cosmetics and hair, but this resolved itself when I closed out the game entirely and relaunched it. Overall, I’m happy with the performance of the game in its current state, and it’s a far cry from its launch state. If you haven’t played since launch, now is the best time to dive back into Cyberpunk 2077 for a return visit.

Bright Lights, City Nights.

Phantom Liberty is one of the best gaming experiences I’ve had in 2023. Most everything I found lacking in the base game has been addressed in spades. From the absolutely killer 2.0 update as a framework to the gameplay and story additions that Phantom Liberty provides. Cyberpunk 2077 may have had a rough launch but Phantom Liberty shows off how great this game can be.

Phantom Liberty is a vital addition to Cyberpunk 2077 that is an absolute must play for fans of the genre and base game, and it’s also one of the most quality video game expansions I’ve played in recent memory. Phantom Liberty is not just a redemption story for Cyberpunk 2077, it’s an absolute victory lap.

Cyberpunk 2077’s 2.0 update launches on September 21 for free on PS5, Xbox Series and PC.

Cyberpunk 2077: Phantom Liberty ($29.99) launches on September 26 for PS5, Xbox Series, and PC.

Editor’s Note: Review code provided by the publisher.

The post ‘Cyberpunk 2077: Phantom Liberty’ Review – How the Game Finally Achieves Greatness appeared first on Bloody Disgusting!.

Featuring unique artwork by Butch Mapa, the one-shot story stands out from the rest of the Archie Horror line by telling a deeply personal story that focuses on the lead character of Danni Malloy. Revealed to be Transgender earlier this year in the one-shot comic Archie Horror Presents: The Cursed Library, Archie Horror has now made her the lead in her own comic book written by Magdalene Visaggio, who is no stranger to telling stories with queer characters front and center. 

What stands out about Strange Science is how authentic the writing feels. In only 32-pages, Visaggio is able to craft a story with not only horrific imagery that Archie Horror fans crave, but also a thoughtful meditation on personal grief and fears that left me thinking long after I put the comic down. In this special opportunity, I was able to sit down with Visaggio and go in depth about some of her creative choices and the process behind giving Danni the story that she deserves.

This Interview has been edited for clarity.

BD: What’s your history with Archie and the world of Riverdale? Did you read the comics growing up?

MV: Not Really! I was an X-Men and Spider-Man kid. I didn’t start getting interested in Archie until I was in college. There was this Archie digital national comic that someone made called Archie’s Weird Mysteries that was just this weird gender-bendy, transforming, magical adventure with genie and other strange things made with old real Archie art that had been digitally retouched. So Archie has sort of always had this weird gender thing going on underneath it all to me.

BD: What were your main horror or science fiction influences for Strange Science? 

MV: There’s so many! I feel like the most obvious is The Langoliers. I love Stephen King and the terrible made for TV miniseries was one of my earliest experiences with horror. So Strange Science definitely has this element inspired by that where time traveling doesn’t take you to the past. It takes you to like this dead alternate past where the present has already moved through there. Films like Annihilation, The Mist, and Hereditary, have influences in there too. 

BD: What led to the choice of having Danni be the lead as opposed to your previous books for Archie Horror that had Jinx as the lead?

MV: Strange Science was always meant to be Danni’s book. I started talking with Archie Comics about reimagining Danni Malloy as Transgender back in 2017. For a variety of reasons it didn’t happen, most of which were kind of my inability to get my own schedule together. I was very on the fence initially asking myself ‘Do I wanna do this? Do I not wanna do this?’ I had a long period of time where I was kind of stepping back from doing trans narratives because of personal reasons. I ended up choosing to reimagine Danni because she’s awesome. I stumbled across her when I first got into Archie while in college. What’s great about Danni is that in her first appearances people are constantly like assuming “Danny Malloy” must be a boy (laughs). Once I found out who she was as a character, she’s been stuck in my head ever since.

When I first reimagined her for Archie Comics I said to myself ‘I don’t want this to ever feel like a gimmick. I don’t want to ever feel like the entire reason for this character to exist is to be Transgender’. We didn’t want to disclose her identity right away, we wanted to introduce her in other titles and have readers get to know her. Then when we did the spotlight issue and that’s when it came out. In a story that’s not about her being trans, but is informed by her being trans. I love writing Jinx and it’s been a blast getting to write these two but it’s fun to swap who’s in the driver’s seat and see all the dynamic changes.

BD: There’s often little to no trans representation in the horror genre, especially leads. Did you have any goals with Danni leading Strange Science?

MV: Danni’s not a supporting character this time so I’m taking her seriously as my protagonist. Just to compare to her first appearances where Jinx was the lead, Danni does have to kind of be a little bit one note because Jinx is carrying all the dramatic tension and all the emotional weight. With Strange Science it was just ‘remember that Danni is now the one who’s carrying the tension in emotional weight’ and it’s tension and emotional weight that I know well personally.

BD: Strange Science doesn’t shy away from the fact that Danni is trans and has had a life previously before transition. What were the inspirations behind telling that side of her story? 

MV: Her first appearances when she was Dilton’s sidekick in the original Strange Science comics. The whole reason for using Danni is that I wanted to use a character who has these existing relationships. Danni’s not just being plucked down, but she has context. She has this history with Dilton and a past that’s entirely her own. In Strange Science she’s not his sidekick. She’s constantly presented that she’s just as he is and that she is underestimated. She’s not a different character with the same name, she’s a different version of the same girl.

BD: A lot of horror today tackles heavy subject matter such as grief or loss. How did you go about tackling that in a more authentic way with Strange Science and the story of Danni’s past? 

MV: The problem with the single issue format for these one-offs is that you need to accomplish a lot in an extremely condensed space. There’s not gonna be an opportunity for an immediate follow up, so your emotional beats have to hit all at once. That’s something I struggled a great deal with and I’m not sure how successful it was. I wanted the story to be about Danni having to make an accounting to herself of her own past and to ownership over her past. That is something I think a lot of us in the trans community struggle with. I know it’s true for me that I tend to look at my pre-transition self as a functionally completely different person who I don’t seem to understand very well. So the thing for Danni is she wants the continuity, but she also wants the disruption. It was critical for me to put her in confrontation with the pain of her past while simplifying it so that it could be a big moment.

I know how to write stories and moments that are emotionally resonant to other trans women but I really hope that Cisgender people who read Strange Science are also able to make connections. To their own lives, and their own pasts, and their own gains, and to see that it’s just one pain. It’s all just human suffering and the desire to heal.

BD: Time often feels at a standstill when we as humans are unable to process past trauma and grief. We see Danni go through this in Strange Science. I’m curious what your thoughts are on the scene where Danni encounters her younger self? 

MV: One of the hardest parts of being trans is the feeling like you don’t have a past anymore. That your history was never your history. That in transitioning  you are repudiating your past, you are repudiating the person you were and saying that there is continuity, but this is that this is a moment of significant disruption from which there is no going back. One of the things I’ve been personally working on for a long time is this idea that maybe that’s not true. Maybe we were always there. So at the end of Strange Science when Danni meets her younger self, her younger self is a little girl. It’s not her pre-transition, it’s the person that she transitioned into who was always there. We have so much grief for all the time we lost post-transition, but there’s peace in knowing that it was always you there.

BD: Are there any future plans for Danni, Jinx, or Dilton in the world of Archie Horror?

MV: I definitely have ideas. There’s nothing specific in the works, but Archie Comics is very supportive and there’s always discussion about where the characters go from here.

The post ‘Strange Science’ and Trans Narratives in Horror Comics – A Conversation with Writer Magdalene Visaggio appeared first on Bloody Disgusting!.

What I truly didn’t expect from Mortal Kombat 1, however, was the best damn entry in the franchise since 2011, and a game that leans more into the series’ roots than you might realize.

A Return to Form

Let’s be real, Mortal Kombat X and Mortal Kombat 11 were bogged down by unsatisfying mechanics that distracted from the core combat. X and 11 asked players to learn multiple variations and gear systems for fighters that resulted in changes that ranged from minimal to drastic. Those games felt like they were running a meta game that focused on character builds and synergy similar to RPGs and less like a proper fighting game. Mortal Kombat 1 strips away all of this and presents only one version of every fighter and its main roster. For example, if you learn Sub-Zero, this will be the toolkit you use in tournaments or encounter in matches online; there’s a focus on skill rather than builds or selectable specials. 

Where the main variation in combat comes from is the game’s brand-new “Kameo” system that will ask players to bring in an additional fighter from an entirely separate roster of fighters. You can call this fighter in at any point of the fight using a single button press and can modify the move they do by inputting a direction when summoning them. I had an absolute blast experimenting with the Kameo fighters and discovering new ways to extend my combos, be it Sonya Blade throwing out a wave of energy or Sektor launching homing missiles at the opponent. 

Mortal Kombat 1 also ditches interactive stages, instead focusing on the hand-to-hand combat. Final Blows and Fatalities also return in glorious gory fashion. Fatal Blows receive a neat attention to detail as they actually incorporate the player’s Kameo fighter which means Fatal Blows are far less repetitive in this game due to the near limitless combinations. Fatalities are reworked from Mortal Kombat 11 and feature easier combination inputs. The game also features Kameo fatalities; I implore players to explore these as some of the game’s best are tied to certain Kameos.

The gear system does return but has been entirely reworked to be cosmetic only. Each fighter has one customizable item such as a face mask or a weapon, and is able to swap palettes that completely change the color and outfit that they wear. For example, I was able to unlock a fur-lined coat for Johnny Cage that made him look more like a movie star at a Hollywood premiere than a Mortal Kombat fighter. With rewards regularly dropping from the various modes including Story mode and the new Invasion mode, I can’t wait to see what wild looks and combinations people come up with while remaining balanced to the core combat.

A New Era of Mortal Kombat

The story in Mortal Kombat 1 is an absolute joy to experience. After the multiverse nonsense of Mortal Kombat 11, this game attempts to have a clean reset of the often convoluted Mortal Kombat timeline. But rather than being beholden to most of the canon like the 2011 reboot, Mortal Kombat 1 takes huge risks with power dynamic shifts.

This time around, Fire God Liu Kang is in charge of the fate of the realm instead of Raiden. He chooses to take a more hands-off approach to keeping peace in the realms and has altered the fate of nearly every single character in the Mortal Kombat universe. The main conflict arises in the form of a certain Mortal Kombat 11 character returning with knowledge of the changes Liu Kang made, and they attempt to restore the origins of the characters we know and love.

Make no mistake you don’t need to play Mortal Kombat 11 to understand what’s going on in Mortal Kombat 1, but players who have will be narratively rewarded. What I love the most about the story is the misleading title that implies it’s yet another reimagining of the original Mortal Kombat, but in actuality is a brutally violent reimagining of the PS2-era games such as Deadly Alliance and Deception. This provides a much needed revitalization of the lore of Mortal Kombat and allows players to get to know characters we haven’t seen since the mid-2000s.

It’s also extremely fascinating to see characters we know and love have all new origins and backstories. From Kenshi being a ruthless Yakuza member to Raiden being the human champion of Earthrealm, I was engrossed with the story from beginning to end to see what surprises were in store. As a long time fan, I felt as if I was discovering a whole new world of Mortal Kombat.

But Wait, There’s More!

In addition to standard online and story modes, the game also features an arcade mode and a new replacement to the Krypt called “Invasions.” This mode takes the form of a playable RPG-lite board game where players are tasked to explore various Mortal Kombat environments and clear their boards of invaders from other realities. While exploring and overcoming opponents, players will be rewarded with new gear items and palettes that provide a great deal of cosmetic customization. To help with chances of success, players will level up and equip their fighters with relics and other items that will give them new benefits that range from stat boots to all new abilities such as throwing out fire balls.

Invasions is a massive improvement over the previous game’s Krypt, feeling less random and cryptic in how to overcome obstacles. I also appreciated that rewards in this mode are entirely cosmetic, providing players with a way to unlock skins but not feel obligated to as they provide no stat benefits like the previous game. The environments are also just a love letter to the entire franchise as a whole filled with easter eggs, characters, and references that even the biggest Mortal Kombat fans will enjoy. With Netherrealm promising to seasonally update the Invasions mode, I can’t wait to see what surprises and themes are in store for us. 

Invasions is also entirely player controlled. The timed towers of Mortal Kombat 11 that offered gear rewards relied too much on cheap tactics and a focus on setting character A.I. that ultimately led me to feeling like I was watching the game more than playing it. With Invasions, I find myself trying characters I would’ve not played as much in an effort to counter elemental boosted opponents and other obstacle challenges. 

Truth be told, Invasions reminds me a lot of the older Konquest modes from Deadly Alliance and Deception, which adds even more to the reimagining of the PS2 era of Mortal Kombat. Consider me a very big fan of all the content Mortal Kombat 1 has to offer.

Performance on the PS5 ran at a rock-solid 60 frames per second and the animations look insanely smooth in motion, definitely improved from the beta. Mortal Kombat 1 also employs Mortal Kombat 11’s exceptional rollback netcode, providing excellent online play that I never ran into an issue with in my time with online matches during the beta. Although I didn’t have much time with online matches during the review period, I expect them to be fully functional.

If there’s anything to criticize, while the cutscenes in story mode can be jaw-droppingly gorgeous, some of the facial animations leave a lot to be desired and enter the uncanny valley at times. It’s a small complaint but I found it a bit distracting.

A Test of Might

I’m impressed with what Mortal Kombat 1 has to offer. From the ambitious Story mode, to the new addition of Kameos to the combat. From the relegating of the gear system to be cosmetic only, to the all-new RPG Invasions mode. Mortal Kombat 1 feels like a return to form for the series while pushing it in new meaningful directions. It’s the perfect entry point for newcomers and long time fans of the series. It’s for die-hard fighting game fans with its combat depth, but also for the single-player looking for a ton of content. Mortal Kombat 1 is a game I absolutely love and can’t wait to enjoy for years to come. With no doubt in my mind, this is the best Mortal Kombat game since the 2011 reboot.

Rejoice, Mortal Kombat fans. The golden age is upon us.

Mortal Kombat 1 arrives on September 19 for PlayStation 5, Xbox Series, Nintendo Switch, and PC via Steam and Epic Games Store.

Review code provided by the publisher.

The post ‘Mortal Kombat 1’ Review – The Past Meets the Future in the Franchise’s Best Video Game in a Decade appeared first on Bloody Disgusting!.

In a surprise announcement that Bloody Disgusting is proud to exclusively reveal, Archie Horror is making its horror convention debut with H45: 45 Years of Terror, a convention celebrating the 45th anniversary of John Carpenter’s Halloween, happening from September 29th to October 1st at the Pasadena Convention Center.

In addition to their presence, Archie Comics will also be bringing two crossover collaboration prints by artist Matt Talbot! The prints depict Halloween’s Michael Myers crossing paths with beloved Archie characters such as Sabrina Spellman, Betty Cooper, Veronica Lodge, and everyone’s favorite black cat Salem. These prints will only be available at H45 so fans might want to jump at their chance to get one of these.

Here’s what Archie Comics CEO Jon Goldwater had to say about the collaboration:

“When we launched the Archie Horror line of comics ten years ago, we knew there was a strong bond between Archie fans and horror fans — both are such integral parts of American pop culture, with beloved tropes and iconic characters. And it’s hard to think of a more iconic character in horror than The Shape himself, Michael Myers. Working with our partners at Trancas International Films and Compass International Pictures to have Michael menace our own final girls — Betty, Veronica, and Sabrina — is a dream come true for all of us at Archie Comics.”   

Archie Comics’ Senior Director of Editorial Jamie L. Rotante added:

“A huge thank you to the fine folks at Trancas International Films and Compass International Pictures for allowing us to make this a reality; it’s an absolute honor and honestly surreal to see this blending of worlds, and recreating the classic Sabrina the Teenage Witch cover with The Shape is absolute perfection. We’re so grateful to work with a talent like artist Matt Talbot, who brought these wild fantasies to vivid, gorgeous life, and we’re excited to make our first-ever horror convention debut at H45. Archie Horror is ready to cement its place in the horror community.” 

Finally Artist Matt Talbot had this to say about the development process:

“Every so often, if you’re really fortunate, a dream project comes along—and this was one of those times. The Archie gang… meeting up with Michael Myers? When I was asked if I was up for drawing what that might look like, I couldn’t say ‘yes’ fast enough.

“Working on this with the team at Archie was so much fun. We pushed ideas back and forth, I worked up a few sketches, and we chose two of them to bring to life. I love that we ended up with one piece paying homage to an iconic scene from Halloween, and another paying homage to an equally iconic Archie comic cover.

“Archie Horror and Halloween are two of my very favorite spooky things—and the chance to not only see them together, but draw them together? It doesn’t get any better than that!”

These two prints will be available exclusively at H45: 45 Years of Terror from September 29th – October 1st at the Pasadena Convention Center in beautiful sunny Southern California!

The post EXCLUSIVE: Michael Myers Stalks Archie Icons on Special Prints for “Halloween: 45 Years of Terror” Event! appeared first on Bloody Disgusting!.

But when Daymare: 1994 Sandcastle was announced as the second installment of a trilogy, I was curious. Not only was it a prequel taking place before the first game, it also leaned into the sci-fi elements of the series. What surprises could be in store? Could the game still capture that retro survival horror feel while pushing the series in a new direction? What was the inspiration behind this installment now that an official Resident Evil 2 remake exists?

Daymare: 1994 Sandcastle follows H.A.D.E.S. operative Dahlia Reyes as she takes part in Operation Sandcastle. A top secret mission, the events of the game will see and her squad diving into the depths of Area 51 and making a horrifying discovery that will put them in a fight for their lives.

Bloody Disgusting sat down for a one on one conversation with Invader Studios’ Creative Director Michele Giannone. We talked about the challenges the team faced, crafting a modern survival horror experience that balances horror and action, and much much more.

This interview has been edited for clarity.

BD: What was the motivation behind making a prequel to Daymare rather than a traditional sequel?

MG: “We were working on the first game [Daymare 1998] as the first installment in a trilogy. So we put a lot of interesting references in the first installment that connect it to a past mission that happened before. So after the release of Daymare: 1998, we asked ourselves: ‘Okay, do we want to go with something that will solve the final cliffhanger in the game, or explain the past mission before the events of the first game.’ If we are lucky, we will go with a third possible chapter that will close the trilogy next time around.”

“We decided to go with a prequel because we love prequels in general. In movies, in other video games. We just wanted to explore more about the characters, about the situation that is referenced in the first game. We wanted  to go with something that explained a little more about the background, and all the world-building that will lead to a possible third installment of the saga.”

BD: What was one element or criticism you really wanted to address when developing Sandcastle?

MG: “After the release of the Daymare: 1998, we knew that there were some weak points due to the limited budget we had. The fact is that we were just five people working on a really ambitious game. We knew that we had to work on those weak points and improve them. We worked on faster animations for the cutscenes and in animations in general. We wanted to improve the experience as well as demonstrate to the players that we learned lessons from the first installment. Of course we also concentrated and focused on our strong points, just to make this new game bigger and better than Daymare: 1998.”

BD: What were the main inspirations behind the creation of the lone protagonist Reyes?

MG: “It’s a mixture of different ideas. We wanted to have a lone female protagonist this time around because in the first game we had three main characters. We wanted to have a really deep personal background and personal story for her. So it took time to write her, her past, her experience, her connection to the main game plot and lore. It has been really a mixture of several different ideas and inspirations too. So it’s not possible to name just one.”

BD: How do you strike the balance between horror and action when controlling a badass like Reyes?

MG: “It’s not easy. In the first game we opted more for a classic survival-horror game. This time around we wanted to give more focus to the action and give the action-oriented audience a taste of the series. It’s important for us just to give players a satisfying experience, that can also be scary. It’s a balancing act  between a state of tension, and sometimes letting the players use their strategy just to kill every enemy. We play-tested the game month after month, changing things to keep the balance at its best. It’s not easy, but we also follow just our taste. We are survival-horror and action fans, we know what we want. We wanted to pass that on to the players too.”

BD: The D.I.D. device has a scanner this time around. What do you feel this adds to gameplay/exploration?

MG: “We wanted to add something to make the exploration a bit more intense and important this time around. Something to encourage the player to look for these elements that are connected to more info and details about the world and lore. We thought that this element being present as a scanner might have been interesting to introduce. I think it’s something that can give to the player something different during the exploration, and make the game a more complete experience. Something that can just improve the exploration even more than the first game.”

BD: What were the challenges behind developing combat and puzzles around the new Frost Grip weapon?

MG: “The Frost Grip is probably the most unique feature of Daymare: 1994 Sandcastle. Everything was built around this device. Sometimes ideas just come up naturally. When working on the Frost Grip features just to kill enemies you might think ‘Okay, but maybe we can also use it for some environmental puzzle.’ So you start experimenting by shooting on fire, shooting on steam, shooting on everything. It inspired so many possibilities on how to use the Frost Grip.”

“At the same time when we were working on the combat system and thought ‘Okay, let’s use it as a crowd control system.’ That is something really exciting, because there are not many survival-horror games with a crowd control system. Later on we thought, ‘Okay, let’s also upgrade it so we can have different attacks and different defenses’. This is the result of months and months of testing and planning and I think we’re all pretty satisfied with how it turned out. It seems people are loving the Frost Grip, so that’s good.”

BD: In what ways do you hope Daymare: 1994 Sandcastle  subverts expectations with survival-horror fans?

MG: “All the unique elements we put in the game. Most of all the Frost Grip and the fact that our enemies are really unique. They’re not regular zombies. They can pass their viral life to corpses and to other enemies to make them stronger. I think these are the most unique aspects of our game.”

BD: What horror and action films inspired Daymare: 1994 Sandcastle ?

MG: “There are always so many movies that in one way or another influenced us during the developing and the pre-production. I think that for sure Stargate is something that influenced us that we all love. The Terminator was a big inspiration and of course The X-Files is something that will always influence us in a way or another when it comes to lore and world-building. I also think that the newer Resident Evil remakes are pretty great to get inspiration from a technical and visual point of view.”

BD: Final question, do players need to play the first installment to understand Daymare: 1994 Sandcastle or can they jump right in with this installment?

MG: “No. Of course you can play this game without playing the first one. I think that if you played the first game before and after this new one you’ll have more of a connection to the overall story.  Daymare: 1994 Sandcastle is made to be enjoyed by everyone, that includes people who haven’t played the first one.”

Daymare: 1994 Sandcastle Collector’s Box will be available for PS4 and PS5 on September 26, 2023. Pre-order a copy now before it’s too late.

The post How ‘Daymare: 1994 Sandcastle’ Carves Out an Identity – An Interview with Invader Studios appeared first on Bloody Disgusting!.

Did they succeed in Round 2? The results may surprise you.

Daymare: 1994 Sandcastle follows H.A.D.E.S. operative Dahlia Reyes. Set before the first game’s events, Sandcastle follows her and her squad as they take part in “Operation Sandcastle,” which takes them into the depths of Area 51. An event only referenced in the first game, Sandcastle gives players the chance to experience this critical event in Daymare lore firsthand and gain more context in the world that Invader have crafted. This along with its science fiction inspired Area 51 setting hooked me instantly as its a tone and setting scarcely explored in horror games.

First things first, Sandcastle makes its first improvement by focusing on a single playable character. In the first Daymare, the story flew wildly all over the place by jumping around between characters and setting but Sandcastle has time to focus on Reyes and flesh out her personality and story. By the end of the game I found myself a big fan of her background as a scientist-turned-soldier. This has caused the story to be told slightly better than the first game with more personal and emotional stakes, though the writing lets down some of the more emotional beats; especially when some of the animation is lacking in the game’s cutscenes. 

Gameplay is a mixed bag. Sandcastle delivers on survival exploration most obviously inspired by the Resident Evil series. Exploration involves backtracking and solving puzzles to progress through the mysterious base. Unfortunately exploration never really resonated with me as it’s a tad bland and feels linear in most parts. Sure there’s ways to create shortcuts to backtrack to previous areas but most of the time it boils down to: “Enter a new area. Briefly explore. Solve a puzzle. Move on. Repeat.” Sandcastle attempts to shake up the monotony by equipping players with the new D.I.D. scanner, a device similar in concept to the scanners from games such as Metroid Prime or Resident Evil: Revelations. Though the scanner adds more to lore and environmental storytelling, it never brings anything substantial to exploration. I found myself skipping scan points more often than not.

Perhaps my favorite aspect of Sandcastle as a whole is the combat and the introduction of the Frost Grip weapon. Early on in the game, Reyes discovers a key item that allows her to shoot out bolts of ice in either blasts or streams. What’s neat about this item is not only is it used in combat but exploration as well. During combat I could shoot out blasts of ice to completely freeze an enemy and shatter them with a satisfying animation. The Frost Grip quickly becomes a tool of crowd control that leans more into an action movie feel. The Frost Grip is also used during exploration, allowing Reyes to stop fire or white hot pipes to progress through the environment. It’s such a cool item that I seriously hope Invader brings it back for potential future installments.

I’ll say this. Daymare: 1994 Sandcastle is a sizable improvement over the original game, but it’s not without its faults. Though the story is more fascinating and combat is fun as hell with the Frost Grip, the exploration and technical shortcomings such as the facial animations hold it back. The biggest cardinal sin, however, is this: I don’t think Daymare: 1994 Sandcastle is very scary. Never once did I have a feeling of dread come over me or feel like I was fighting an uphill battle of survival. Instead of a life-threatening situation, I felt like I was being led through a haunted house maze at a theme park. With Invader saying they have intentions of making a third Daymare, maybe next time they can truly deliver the survival horror experience they hope to achieve. 

Daymare: 1994 Sandcastle launched for PC via Steam, PlayStation 5, PlayStation 4, Xbox Series, Xbox One and the Nintendo Switch on August 30th.

Editor’s Note: Review code provided by the publisher.

The post ‘Daymare: 1994 Sandcastle’ Review – Improvement Over First Game Isn’t Without Its Own Faults appeared first on Bloody Disgusting!.

Enter Blasphemous 2. A surprise sequel that I quite honestly never saw coming. Taking every lesson they learned from developing the first game, developers The Game Kitchen have crafted a far more varied and refined experience that’s drenched in gallons of blood and held up by a fantastic art design that uses religious and horrific imagery in equal measure. 

Players once again take on the role of The Penitent One, a silent warrior who has taken a vow of silence and traveled to a new world in hopes of destroying huge new bosses to disrupt the order therein. Players who played the first game know what to expect: a huge sprawling map, horrifying enemies, and loads and loads of blood and gore.

Where Blasphemous 2 stands apart from its predecessor is with the introduction of new weapons. The first game offered little in the way of gameplay variety, but this time around The Penitent One has access to a variety of weapons that play vastly different from each other. Your standard sword plays similar to the first game but now there are speed-based and heavy weapons that improve the flow of combat. I found myself gravitating towards the rapier and dagger playstyle that allowed me to quickly strike my foes with ample time to dodge and gain my bearings. The break up in monotony means that players will more likely find a playstyle that works for them. 

Players will still be able to equip rosary beads for stat adjustments and “prayers” that often take the form of powerful spells. With the combination of these factors and choices, I felt a great connection to The Penitent One and the toolkit I had chosen for him. Whereas I would bash my head against a wall in the first one where there was a situation I couldn’t overcome, this time I felt motivated to experiment with my loadouts and builds. There’s far more player agency this time around and I have to applaud Team 17 for making these improvements. In a way the first game almost feels like a proof of concept to the more fully fleshed out sequel.

The elements from “souls” games also make a return. Punishing but fair difficulty, limited health potions, and an element of redemption from death to rebuild your prayer meter. If you weren’t a fan of these gameplay elements, I’m sorry to say that Blasphemous 2 doesn’t overhaul these mechanics in any way. For fans of the first game, I will say that I found the experience to be a bit more forgiving overall without taking away the sense of accomplishment from discovering a new area or overcoming a difficult enemy. Blasphemous 2 also has a sprawling open map with interconnected levels. Though some ends are blocked off until ability unlocks, I never found myself too lost and often had numerous paths to explore. What’s fantastic about the design is that Blasphemous 2 never holds your hands in exploration, often evoking that same feeling I get from playing Symphony of the Night.

This wouldn’t be a review of a Blasphemous 2 without taking a moment to talk about the gorgeous visuals that are on display here. The trademark pixel art looks more gorgeous than ever. Twisted catholic-inspired imagery complimented by horrific monster design and a healthy dose of blood that would make the most cold gore hounds blush. Team 17 employs  a unique Spanish-inspired take on saints and saviors that lives up to the name Blasphemous and quite possibly has the most talented pixel artists in the business. It’s worth playing through Blasphemous 2 to see what gorgeous vista or grotesque abomination is waiting around the corner on your journey to cleanse the land. Oftentimes it feels like a death metal album come to life.

Simply put, I had a grand time with Blasphemous 2. While the first game laid the foundation for a potentially great game, it often failed to live up to expectations with its monotony and lack of player freedom. Blasphemous 2 doubles down on refining the experience and in turn becomes one of the most fun modern takes on the classic “metroidvania” formula. If you’re a horror fan you’ll love the gore and suffering on display. And if you’re a fan of exploration/combat heavy games, Blasphemous 2 has you covered in bloody fashion. 

Blasphemous 2 is now available for the Nintendo Switch, PC via Steam, PlayStation 5, and Xbox Series.

Editor’s Note: Review code provided by the publisher.

The post ‘Blasphemous 2’ Review – A Bloody and Refined Gameplay Experience appeared first on Bloody Disgusting!.

For the uninitiated, Vampire Survivors is where players take on the role of various characters inspired by archetypes of Castlevania characters. From there they’re put into an endless gauntlet of survival against non-stop enemies. Players don’t need to hit a button to attack as characters automatically attack; instead they’re tasked with focusing on positioning and picking up XP gems that allow their heroes to be equipped with more weapons and stat boosting items.

The creatures players will face include bats, skeletons, zombies, demonic plants, and various other monsters that take obvious inspiration from the Castlevania series. After about 30 minutes of battle, players are greeted with the Grim Reaper himself and the level comes to an end. Vampire Survivors might have the most simplistic gameplay ever but that allows it to be playable by everyone of every single skill level.

The Nintendo Switch version brings the full experience to a portable form; sure the game is already available on mobile phones, but having actual controllers and zero ads feels like the proper way to play. The Switch version also includes the latest couch co-op update that makes defeating hordes an absolute blast but eventually leads to busy screens with so much happening that it’s hard to make out what’s going on at certain points.

Vampire Survivors offers progression in the form of spending gold you find in levels on new characters and upgrades. Though you start with a whip-wielder, I instantly find myself gravitating towards the magic user as she fires at the nearest enemy instead of having to position for a proper whiplash. There’s a great variety of starting characters, each one using a different weapon you find within the levels. If you find yourself not liking a certain starting weapon, I highly recommend unlocking someone new and getting a new starter weapon. You never know who will take you to those satisfying level conclusions.

Level layouts are infinitely repeating but feature unique themes and layouts. The starter stage is a big grassy field with little obstruction, but you’ll soon find yourself in places like a horizontal oriented library or an infinitely vertical castle. Vampire Survivors provides a satisfying pace of progression that melds wonderfully with its addicting nature.

Vampire Survivors is satisfying gaming concentrated into its most pure form. It’s as satisfying as getting the super shotgun in a Doom game or defeating an annoying boss in Dark Souls. It’s one of the first games in a long time where I found myself saying “just one more round,” inevitably turning my quick play sessions into hour long excursions. With the Nintendo Switch release it adds a new portable element that makes it even more addicting and has me throwing my Switch in my backpack far more often as of late. For the price of about a cup of coffee, Vampire Survivors is the most bang for your buck that delivers an insanely addicting experience. Highly Recommended.

Vampire Survivors is available now on Nintendo Switch.

Editor’s Note: Review code provided by the publisher.

The post ‘Vampire Survivors’ Nintendo Switch Review – Survival Game Is Now More Addictive Than Ever Before appeared first on Bloody Disgusting!.

Final Fantasy XVI introduces a more bleak take on series conventions with a story that focuses on warring nations and personal loss. In the world of Valisthea, the nation is at war wielding massive monsters known as Eikons. These giant creatures are traditionally summons in the previous games but here are tools of destruction that are used to advance political ambitions. Think of them less as magical abilities and instead Kaiju nukes that destroy absolutely everything in their path. Final Fantasy XVI crafts a world that takes real life fears and tools of destruction and presents them as monsters that the world has wrought on itself. 

Final Fantasy XVI also adopts an action based combat system that feels more in line with games such as Dante’s Inferno, God of War, or Devil May Cry. The combat design allows players to viciously take down their opponents in a flurry of sword strikes and brutal magical abilities. It’s hefty, it’s fast-paced, it’s violent. It’s unlike anything seen in the series before and that fits the bleak and violent tone the massive story is going for. 

The game follows Clive Rosfield, a noble who grew up in a life of luxury. His father is king of Rosaria, the nation that they live in, and his younger brother is the dominant of the Phoenix Eikon. Dominants in Final Fantasy XVI are humans who have been chosen to control the Eikons of the realm. What some see as a blessing, others see as a curse. Depending on the region, Dominants are either revered as saints or feared as devils who bring destruction to the world.

Final Fantasy XVI crafts a dark and bloody world by putting Clive and his family through a tragedy in the opening hours. On the heels of a political betrayal, a new Eikon of fire is summoned named Ifrit. Ifrit is a massive fire demon who brings destruction to the Rosfield family’s domain. Realizing that his family is in danger, Joshua summons the Phoenix, a massive firebird, and goes to battle with Ifrit. Their battle results in death and destruction in the area and reaches a climax as Ifrit beats Joshua to death as he’s controlling his Eikon. 

Right away Final Fantasy XVI looks to break away from traditional fantasy tropes. This isn’t the light-hearted adventure of the series’ past. The game’s events are essentially kickstarted by the bloody death of a child.

The game picks up years later as Clive is now older and forced to fight for a rival army. His identity was completely stripped away from him. Soon he hears rumors of a fire Dominant who’s been spotted around the world and he ventures on a quest to avenge the death of his brother and family. At first his journey has nothing to do with the fate of the world but is fueled entirely by revenge. He solves his problems through violent methods that often end in copious amounts of bloodshed and ends up crossing paths with other Eikons and their Dominants. These encounters with other Eikons often lead to massive destruction, such as full kingdoms being destroyed and leaving nothing but a crater where magnificent livable spaces once were. Not only does he have to contend with that but he also has to deal with an increasingly dangerous world that is being eaten alive with plague, monsters, and the blight which is withering all life from the realm and making it inhospitable. It’s an all out apocalypse in the world of Final Fantasy XVI. 

This isn’t even a third of the story. Final Fantasy XVI features a plethora of surprises and isn’t afraid to shy away from its more adult themes for one second. Its tone remains consistent throughout until it ultimately reaches a jaw-droppingly violent finale featuring monsters that you could only dream of. 

That’s where I think Final Fantasy XVI shines. Sure I’ve been a fan of the series for quite some time, but XVI is able to craft a more bleak world while remaining faithful to series expectations. There’s lots of bloodshed and death but there’s also hope. No matter how dark things become there’s always a beacon of light ahead. Be it Clive opening up to his companions, exposing his more human side, or tearful reunions. I know there’s a lot of reservations from newcomers about jumping into a new installment in a long running series, especially one that helped foster so many genre stereotypes, but I urge horror fans to try out Final Fantasy XVI and experience the bloody world of Gods & Monsters it creates.

The post Gods, Monsters, Fire and Blood: Why ‘Final Fantasy XVI’ Feels Like ‘Final Fantasy’ for Horror Fans appeared first on Bloody Disgusting!.

Enter Remnant II and Gunfire are heading back to the world they created in hopes of polishing and reiterating on ideas they had. Is it entirely successful? I’m not sure about that. But I do think they have delivered an exciting and at times very fun game that will probably only get better with time, even if the story is quite lacking.

So what’s the gist of Remnant II? Well, after creating a character you’re thrown into a world overrun with “the root,” a cosmic entity that has a tree like appearance and spawns hellish monsters into this world. In a brief intro, your character is introduced as a survivor and you’ll soon be brought into the hub area of the game where you’ll craft/upgrade weapons, obtain gear, and travel to new areas. Remnant II does a good job of introducing players into the idea that they’ll be in a constant gaming loop of exploring, obtaining upgrades and venturing further to defeat bosses and discover more of the world.

Where Remnant II really shines is the gameplay.

After picking a character class, you’ll have access to abilities and perks tied to that class. For my playthrough I chose the gunslinger and was treated to an ability that allowed me to summon a spectral six shooter to devastate groups of enemies or focus on one target with a single shot. What’s great about the character classes is that players aren’t locked into them and can change them throughout the game, allowing for a good amount of player expression. Using your character, Remnant II asks players to explore contained but semi-open environments with multiple paths that lead to logical ends, most of the time bookended by a boss fight. Shooting is tight and heavy and players have access to an extremely satisfying dodge to master. Post-area completion, players will return to the starting point to upgrade or craft better gears and weapons and the entire process starts anew. Sure the illusion of freedom in exploration is there but Remnant II’s levels are pretty linear affairs. Fans of the “Souls” genre looking for a fix in a post-Elden Ring world will be disappointed.

The biggest improvement across the board in Remnant II is the balancing. The first game fell short in this department with a difficulty that curved more towards multiplayer. It was frustrating to fight bosses with multiple stages only to be taken out by multiple enemies that would either hit you from multiple directions or stay out of the line of sight. This sequel rebalances situations with the single player in mind. Sure the game is still punishingly difficult in parts but I’d be remiss to not mention that overall it feels like a massive improvement for solo play. For those that want that original experience there are multiple difficulty levels and the signature co-op from the first game makes a triumphant return.

Here comes my biggest issue with the game: the story. The Remnant series has crafted this deep lore about the Root and humanity’s fight for survival in a post-apocalypse world, so it’s extremely frustrating that the story boils down to nonsensical muck that takes a backseat to the gameplay. If you were hoping the story is an improvement over the first game, it brings me no pleasure to tell you it isn’t. That’s a shame, because the world is fascinating as hell. 

I spent my time with the PS5 version of the game. The game performed well, sticking to 60 frames per second most of the time but having strange hitching when battles got overly hectic or when exploring certain environments. Overall I was satisfied with the performance as a high framerate is an absolute must for this type of game. Remnant II is also an improvement to look at as it features a great art design that melds modern civilization and the cosmic nature of the Root. 

Remnant II is a fun game. The shooting and character building are wonderful to experiment with but the exploration and story leave a lot to desire. If you’re a solo-player, or grouping up with some friends, Remnant II is sure to have something for you if you’re a fan of shooter action games. It’s a shame that the story doesn’t hold up and the gameplay loop is a little basic because I feel like Gunfire Games have a hit on their hands if they can refine this formula to a perfect sheen. Fingers crossed for Remnant III.

Remnant II is now on PC via Steam and the Epic Games Store, PlayStation 5, and Xbox Series.

Review code provided by the publisher.

The post ‘Remnant II’ Review – The Gameplay Shines But the Story Disappoints in This Video Game Sequel appeared first on Bloody Disgusting!.

For the uninitiated, Dead By Daylight is an asymmetrical horror video game where 4 players take on the role of survivors who are trying to escape the map, and 1 player takes on the role of a killer who’s trying to sacrifice them on meathooks. It’s a simple premise that allows for a great amount of freedom for bringing in crossover characters and killers from franchises such as Nightmare on Elm Street, Halloween, and Scream. Previous crossovers have always been in the form of fictional characters, however, so it was a bit strange when it was announced that Nicolas Cage would be joining the ever expanding roster of guest characters. As himself.

After some hands-on time playing as Cage, I can say this is a pretty special collaboration. His toolkit plays up that he’s a real life star. He has abilities that allow him to play dead and get back up to trick or hide from the killer, or become screen partners with the killer as if he’s viewing the whole ordeal as the role of a lifetime. He brings a lot of fun energy to the Dead By Daylight roster, which is something that’s been missing with some of the more recent updates.

Playing as Cage is an absolute joy but I was curious how the hell this collaboration even came about. So I sat down to talk to Mathieu Côté, Head of Partnerships for Behaviour Interactive (the developers of Dead By Daylight), to find out how this surprising mashup came together.

Bloody Disgusting: How did this collaboration even come about? Is Cage a fan of Dead by Daylight?

Mathieu Côté: “It occurred very naturally, actually. We had the idea of collaborating with him and we reached out. We were thrilled to learn that in his close circle, he has people who are fans of the game. So he knew of us and he accepted. We were very lucky.”

BD: Did the team ever expect to have a real person, as opposed to a fictional character, join the expanding Dead by Daylight roster?

MC: “The idea has always been to have him as a real person and not one of the fictional characters he has played during his long and fruitful career. The world we have built in Dead By Daylight allows us to get people from various multiverses – which opens the door to having a real person in the game. It helps tremendously that he, himself, is bigger than reality, which made him an ideal candidate.”

BD: Were there any challenges that arose when designing Cage’s gameplay and toolkit due to the nature of him being a real person and not a fictional character?

MC: “The big difference wasn’t the fact that he was real or fictional but rather how do we represent that character to the best of our ability so that it’s as close to reality as possible? The perks, for instance, were designed to reflect what he stands for.”

BD: What do you feel Cage adds to the ever-growing lore of Dead By Daylight?

MC: “It expands on the idea that the world of the Entity is a place where different realities mix, which has always been a strength for Dead By Daylight. Everything we add to this world adds to its richness. And again, it’s been said many times but we are extremely lucky to have him in our game. He’s just… so cool.”

BD: Anything that Cage devotees should keep an eye or ear out for when playing as him?

MC: “There’s a couple of hidden elements – which players should definitely keep on the lookout for. If you play enough, if you master the character, there are really cool rewards!”

BD: Has Cage got a chance to play as himself in the game yet? What was his response?

MC: “We sadly don’t know. We really hope so.”

BD: What’s your favorite Nicolas Cage movie?

MC: “National Treasure 1 and 2. Both are perfect movies and I watch them regularly.”

Nicolas Cage is now available in Dead By Daylight.

The post How Did Nicolas Cage End Up in ‘Dead By Daylight’? A Closer Look at Gaming’s Strangest Crossover appeared first on Bloody Disgusting!.

Oxenfree II: Lost Signals carries the torch lit by the first game to wonderful results. Rather than focus on Alex and her friends from the first game, the long-awaited sequel follows brand new characters and a new setting that ties into the original. New players will have no problem understanding the new story, which is something I’ll always welcome. 

The sequel puts players in the role of Riley Poverly, who’s returning to her hometown of Camena for what seems like a routine job of setting up transmitters around the town. Soon the job becomes far more than she bargained for when time-loop portals begin opening up and causing havoc. Together with local handyman Jacob Summers, they’ll have to navigate Camena and its ties to Edwards Island from the original game.

Riley is an interesting departure from Alex in the original game. Whereas the first Oxenfree relied on teenage nostalgia and problems, I found the character of Riley to be far more relatable. She represents that period after high school in early adulthood where life feels a little aimless. Her exterior persona may seem like she has it all together but its soon shown that she has internal struggles and doubts. Players can dive deeper into her and Jacob’s backstory through dialogue choices made throughout the game, and I found this to be a completely unique way of building characters. With a focus on less main characters than the first game, Night School Studios are able to dive deeper into their characters in more meaningful ways. It reminds me of some of my favorite “mumblecore” movies in the best way possible.

Oxenfree II employs the same dialogue system from the first game. This means that players will make dialogue choices while navigating the environment, which accurately conveys the feel of two people making conversation while trekking up a mountain or searching a room. Oxenfree II fixes the issue I had with the first game where every character talked too fast, leading to run-on sentences or a jumbled incoherent mess of dialogue. Oxenfree II isn’t afraid to take its time to allow you to get to know its characters through thoughtful dialogue choices. You can have Riley open up about herself and her past as much as you’d like; with every choice I made, I felt like I was peeling back layers until I reached an emotional core. Oxenfree II takes the formula that worked so well in the first game and strips away the nostalgia to deliver an enthralling narrative.

Like the first game, player choice comes through in a lot more than dialogue choices. For example, when Riley is tasked with placing transmitters around Camena, she’s given an open choice where to go first. I chose the first path and was greeted in the 2nd path by an event that could’ve been wholly avoided by taking that path first. Oxenfree II feels far more freeform than the first game which at times felt like it was on a straight line. After seeing certain events unfold, I’m already curious to start up another playthrough and see what different decisions I can make. It’s an engrossing experience to say the least. If you were a fan of Telltale’s style of storytelling, I can confidently say you’ll like what’s on display here. The game also introduces a new walkie-talkie mechanic where Riley can call and receive calls from various characters on her journey. This allows for moments where she can constantly be on the move while interacting with side characters and having dialogue that does some excellent world building.

Oxenfree II lacks in the puzzle department, however. Not only does the game bring back the radio dial puzzles from the first game but also employs a few other surprise puzzles. Though some are creative, others are frustrating to solve, often requiring the use of both thumbsticks in multiple axis positions. Regardless of how I felt about the puzzles, they always ground the story to a complete halt. Even if they weren’t frustrating, I feel they’re uncommon enough that their existence is unjustified.

Speaking a bit more on the story, Oxenfree II delivers more on the horror tone seen in the first but carves out its own path. Players will revisit themes and ideas from the first game but delivered in entirely new context. I found the story a lot more memorable this time around because the game is able to break away from the nostalgia approach of the first one. If the first game is an Amblin-style horror story, this sequel is an adult-style drama that brings cults into the mix. Adding a human enemy to this supernatural story adds an element of urgency that I found the first game lacked in certain parts. Oxenfree II’s story overall is a welcome improvement but honestly which story you prefer is going to come down to personal taste. Fans of the first game will be surprised at how it connects to that original game, which I won’t spoil here.

I played Oxenfree II on PS5 and ran into no issues in my time of play. The framerate got a little choppy when loading a new area but nothing that affected gameplay. The controls are also very intuitive and simple to navigate, but I have to say that I wasn’t a fan of the controls in the puzzle gameplay. This could be that the game never properly explains it, but they never felt right in the slightest. 

Overall, Oxenfree II: Lost Signals is an excellent sequel. Not only does it improve on ideas from the first game but it also breaks away enough to tell a story worthy of experiencing in its own right. It’s a fantastic narrative game and a worthwhile improvement that I would recommend.

Review code provided by the publisher.

The post ‘Oxenfree II: Lost Signals’ Review – An Excellent Sequel That Improves Upon the Original Game appeared first on Bloody Disgusting!.

Bloody Disgusting can report that Welcome to Riverdale by Amy Chase with Art by Liana Kangas is set to hit shelves on October 11, 2023 wherever you buy comics!

Chilling Adventures Presents… Welcome to Riverdale will follow the story of Ginger Snapp as she travels to the titular town of Riverdale. She’s been obsessed with the town since she heard about it growing up and her expectations are met when she realizes how welcoming and friendly the whole community is. But the more people she meets the more she realizes that something is off and Riverdale may not be entirely what it seems…

See, the people there are TOO nice, to the point of being in uncanny valley territory. Ginger soon realizes that if she doesn’t get out she may just go mad from all of it. Welcome to Riverdale is a one-shot horror comic that explores toxic positivity that is equal parts inspired by Pleasantville and The Stepford Wives.

Speaking exclusively to Bloody-Disgusting, Writer Amy Chase had this to say about Welcome to Riverdale:

“Riverdale itself is a character in this book, so we want to be sure readers really feel like they’re being greeted by familiar faces and places. Longtime fans and the newly Archie-curious should all find something to enjoy as we spotlight the absolute best the iconic town has to offer and try to keep its uncanny, dark secrets swept under the rug. I hope people feel a little unsettled, but also charmed by what’s in store here.”

Artist Liana Kangas had this to say about what horror fans can expect from Welcome to Riverdale:

“My favorite part so far is a key moment in the opening scene where a *major* character does something very dramatic and slightly expected but still jarring–I love to surprise the reader by establishing what you know of these characters already and then pushing the envelope with them.”

With Riverdale always being portrayed as an idyllic place where absolutely nothing can go wrong, consider us interested in that idea being flipped on its head to tell a horror story. All the secrets and the fate of Ginger will be revealed when Welcome to Riverdale hits comic book shelves on October 11, 2023.

Exclusively check out Welcome to Riverdale cover art below.

The post ‘Welcome to Riverdale’ – One-Shot Archie Horror Comic Explores the Town’s Dark Secrets [Exclusive] appeared first on Bloody Disgusting!.

When announced a few months ago, many assumed this isometric view game would be a twin-stick shooter or Diablo clone. So expectations were truncated going in. I’m not sure what I even expected from an Aliens game. What I found in Dark Descent was an absolutely nail-biting experience that made me the most anxious playing a video game since Darkest Dungeon. At its core, Dark Descent is a brutal tactics game with Real-Time Strategy combat that replicates the feeling of hopelessness and being outnumbered. It’s the closest I’ve ever felt to a game successfully replicating the feel and tone of the films.

Aliens: Dark Descent sees players take the role of Maeko Hayes, a Weyland-Yutani commander. After an explosive but slow-paced introduction/tutorial, she finds herself in charge of a platoon of the series’ signature Colonial Marines as they’re stranded on the derelict moon of Lethe. Soon she discovers the moon is overrun with the deadly Xenomorphs, which need to be stopped before spreading throughout the galaxy. From what I can tell, it’s a relatively simple premise that takes place after Alien 3. But even if you’ve never seen the films, there’s plenty to enjoy from its story and characters.

Aliens: Dark Descent takes the X-COM approach to its commander gameplay. Players will oversee a base where they develop weapons, initiate research, and kit out their marines for missions. It’s an established formula that works, and honestly, I’m shocked that “X-COM in the Aliens universe” hasn’t been a concept sooner. After preparing your marines, you choose which expedition to send them. That can range from searching for survivors, gathering intel, or even hunting down certain enemies. It creates a satisfying gameplay loop of completing missions, returning to base, performing research and development, and repeating the process. If you found this loop satisfying in X-COM or Marvel’s Midnight Suns, you will find it satisfying here.

The gameplay shines once Marines get deployed. Players will command a group of marines in real-time combat and exploration. I found this to be more engaging than X-COM in its moment-to-moment gameplay. Instead of plotting out my moves and watching them play out in turn, I felt I had more active control over my squad and could make more tactical decisions on the fly in case things went horrifically awry. When you move your squad, the Marines auto-attack anything in their sightlines, but they cannot use weapons when you command them to run. This decision provides a push-and-pull style of gameplay where you can weigh your options of standing down and fighting or fleeing to escape from the mission. The only time the gameplay slows down is when using ability commands, where the game’s speed slows, and you can issue a command such as telling a marine to lay down suppressive fire or set up an auto turret. It gives the game an even more tactical feel, as it’s best to do this when enemies do not surround you.

Gear is essential in the game too. While on a mission, it’s going to be critical that you monitor how many health packs and toolkits your marines have. Health packs do what they say on the tin and prevent your marines from dying in the field because they’re gone for good if they do. Long story short, don’t get attached. Due to the game’s brutal difficulty, you will inevitably have marines die on missions.

Conversely, toolkits will provide a reprieve from the horrors marines will face. They can seal doors to either force the Xenomorph into a choke point or stop them entirely so your marines can rest. There’s a constant bevy of decisions that players must make at all times, and how this plays out in real-time can be a tense but satisfying experience.

I want to talk about difficulty, as this is where many players may feel intimidated. Make no mistake, Aliens: Dark Descent is a brutally difficult game, even on standard difficulty. Sometimes I would go on a mission with fully kitted-out marines only to have an unexpected horde of Xenomorphs completely wipe them out. The game employs a light stealth and “danger” level. The more your squad encounters and fights the xenomorph threat, the more dangerous and frequent hordes will become. The best way to slow this is to stealthily move across missions using clever cover and routing. The only problem with this is that it’s unreliable and often resulted in me engaging in far more gunfights than I was prepared for. You can find more resources in the field, but I never felt quite prepared 80% of the time, which feels like an intentional design choice.

Performance is excellent on PS5. I never ran into any bugs or glitches, and the game ran exceptionally well. Helmet’s off to the team for creating a polished game right from release. The only issues I ran into on the console version were the controls. Aliens: Dark Descent is a game designed for the mouse and keyboard. The controls on the pad function fine but replicate what one would do on a keyboard and mouse configuration; it’s a little finicky with the shoulder buttons acting as left and right mouse clicks, respectively. As a result, a lot of the UI isn’t made explicit for the console or bad. It’s a PC port, and I recommend playing it there.

Overall, I had a good time with Aliens: Dark Descent. After getting over the initial learning curve with the controls and mechanics, I was left with a game that poked at all the right parts of my brain. The game’s design creates a satisfying loop of entering the breach, escaping, strengthening yourself, and returning to the fray. At the same time, the somewhat frustrating horde system makes it so that you’re never comfortable while delivering the number of thrills and hopelessness you expect from the Aliens franchise. Aliens: Dark Descent is the most exciting Aliens game yet and one I’ll find myself returning to often to see if I can pull off the perfect mission.

Aliens: Dark Descent is available now on PC, PS4, PS5, Xbox One, and Xbox Series X/S. Bloody Disgusting was provided a PS5 code for this review.

The post ‘Aliens: Dark Descent’ Review – Brutal Tactics and Nail-Biting Experience Captures the Essence of ‘Aliens’ appeared first on Bloody Disgusting!.

I spent extensive time with Mortal Kombat 1’s online stress test this past weekend, taking the game online to fight other players as well as playing a limited single player Kombat Tower, the game’s equivalent of an arcade mode. So what’s the main new gimmick of Mortal Kombat 1? Netherrealm have gone back-to-basics once more by having each fighter have a single variation of play. This means every Liu Kang player will be playing with the same toolkits as other Kang players, etc. I personally find this to be a change for the better as I found the gear and variations systems to break balance online and in tournaments. There were so many decisions and match up learnings involved that when DLC characters started to come into play, the information intake and decision making required to play at a decent skill level became overwhelming. Mortal Kombat 1 brings the game back to the glory days of the first Mortal Kombat reboot, where players can focus less on character decision making in menus and more on… actually playing the game.

Where Mortal Kombat 1 really differentiates itself from more recent entries is the introduction of “Kameo” fighters. Similar to assists in Marvel vs. Capcom and strikers in King of Fighters, Mortal Kombat 1 allows players to choose an additional fighter to complement their main choice. During a fight players can call in this fighter for various assists such as combo extenders, throws, breakers, or a good old fashioned punch. The Kameo fighter is tied to the right shoulder button and the direction held while pressed will choose the command that comes out. This means we do lose interactables in the fighting arena, which I feel were cheap shots before. Kameo assists feel far more intuitive and intentional in their designs. It feels great to be in the middle of a combo as Sub-Zero and call in Sonya to charge her energy rings to blast your opponent. 

Kameo fighters also play a role in the game’s Fatal Blow system. Fatal Blows work the same way they did in Mortal Kombat 11 but now they use both fighters you choose. For example, because I had picked Sub-Zero with Sonya as my Kameo fighter, when Fatal Blow was activated, Sonya jumped in first and pulled off an aggressive chest smash followed by Sub-Zero pulling off an ultra bloody ice spike smash. I’m excited to see what wild combinations will be in the final game, and there’s no doubt in my mind that they’ll deliver all the gory spectacle players come to expect from this series.

One thing I took notice of while playing is that while most fighters in Mortal Kombat 1 are reimagined because of the timeline reset caused by Fire God Liu Kang, the Kameo fighters seem strictly retro stylized. The three in my build of the game were Sonya, Jax, and Kano. All of them sport their original appearance from the first and second games. Now this is purely speculation but it seems to imply that Kameo fighters might be the classic fighters you know and love, while the main roster will get a bit more wild with reimaginings. There were only four main fighters available and a LOT of blank spaces, so I’m excited to see what surprises may be in store from deep in MK’s history (bring back Havik already, dammit).

In addition to Kameo fighters, air combat has a larger emphasis. For the most part, the last few Mortal Kombat games have been ground-heavy games. Never were you encouraged to jump in the air because of how punishable it is with an anti-air uppercut. That’s still true for the most part but now you’re able to launch your opponent into the air and follow it up with an air combo. It’s nowhere near the level of something like Marvel vs. Capcom, but being able to add 3-4 hits after an air launch is wildly satisfying and adds another layer to every fighter’s toolkit.

But how does the game play online, you ask? I’m happy to report that Mortal Kombat 1 plays excellently online. Mortal Kombat 11 was the gold standard for online play with its rollback netcode and I’m happy to report this new game carries that tradition. Not once in my online matches did I feel a severe amount of lag or slowdown. It felt as if I was playing someone that was sitting right next to me. Something I’d like to point out as well is that Mortal Kombat 1 is a great looking video game. Previous trailers didn’t highlight how much the visuals are an upgrade from the previous game, but in motion Mortal Kombat 1 is a gorgeous looking game with a killer style running at 60fps on the PS5. The attention to detail in every stage and character so far is staggering and I can’t wait to see what surprises are in store in the full release.

Overall, I’m very excited for Mortal Kombat 1. On the surface, removing environment interaction, variations, and the gear system may seem like a downgrade but it ultimately feels like a proper return to basics that trims the fat that was bogging down the past few entries. Building from a strong foundation, the game adds an exciting Kameo system that is at once a loving tribute to the series and a fun/unique addition to its fighting toolkit. With the full release promising a large roster, I can’t wait to see the amount of player freedom that will come from these new mechanics. I’m firmly in the belief that the golden age of fighting games is upon us, and Mortal Kombat 1 looks to be an exciting addition to the pantheon of fighting game gods.

Mortal Kombat 1 will launch for the PlayStation 5, Xbox Series, Nintendo Switch, and PC via Steam and the Epic Games Store on September 19. Pre-orders are now live via the official site.

The post ‘Mortal Kombat 1’ Hands-On Preview – Why We’re Excited About the Franchise’s Back-to-Basics Evolution appeared first on Bloody Disgusting!.

Archie Horror manages to bring back the feeling of classic comics like Tales from the Crypt and Vault of Horror, and the line is back with a brand new throwback tale.

The company’s latest one-shot, Camp Pickens, takes place at the titular summer camp. Camp Pickens sees the beloved Archie characters spend the summer as counselors encountering the horrors that plague the cursed site. It’s an interesting premise/hook that immediately calls back to films such as Sleepaway Camp and Friday the 13th. The strong premise makes you wonder why Archie and co. have never been camp counselors in a horror story before.

Camp Pickens uses the character of Jughead for its framing narrative. “Bug Hunt,” written by Jordan Morris, sees the lovable goof in charge of protecting a group of young campers as they search for bug juice, a concoction that supposedly protects anyone from Camp Pickens’ death curse. The only problem is that the juice comes from giant mutated bugs that are around the campground. While on his journey he comes across thoughts and situations that call back to other stories about his fellow counselors and the horrors they experience, allowing the narrative to break away to tell those tales. “Bug Hunt” is a very fun monster story in its own right, one that’s very humorous and in tone with the Jughead character. Diana Camero’s art is cartoonish and lighthearted in nature, bringing a humorous vibe to the story as a whole.

 “The Curse of Camp Pickens,” written by Blake Howard, is a traditional ghost story that follows over-careful camp counselor Betty Cooper. Hesitant about the curse, she takes extra precaution to make sure she’s safe this summer. All of that changes though when Reggie tells a story of the camp lake’s sinister nature. It’s admittedly the weakest story in the collection since we don’t get to know much of Betty besides her overprotective nature. But Carola Borelli’s art is a standout as it provides some of the most haunting panels in the entire book.

The final story, “Down and Out and Death Cursed,” is the real star of the show. Written by Tim Seeley (writer of the excellent horror series Hack/Slash) with art by Mike Norton, the story explains the origin of Camp Pickens’ death curse and is a fun send-up of the slasher genre. The story follows rich girl Veronica Lodge arriving at the camp to prepare to be a counselor, but in true fashion she finds the accommodations aren’t to her liking. Eventually she learns of a slasher named the Pickens Puncturer and all hell breaks loose when he starts killing people at the camp. “Down and Out and Death Cursed” benefits from having the best written character in the form of Veronica and the humor around her works quite well. There’s also some clever and funny references to slasher films that fans will be quick to notice. And the ending is the best of the bunch.

Overall, Archie Horror: Camp Pickens is well worth reading. If witches and ghouls aren’t your thing, there are plenty of bugs, masked maniacs, and ghosts here to satisfy your needs.

Camp Pickens is available June 21 wherever comic books are sold.

The post ‘Camp Pickens’ Review – Archie Horror Tackles the Slasher Genre with a Fun Anthology Comic appeared first on Bloody Disgusting!.

Now in 2023, after numerous horror games and the shocker of an announcement that Bloober Team will be developing the remake of Silent Hill 2, we’ve come full circle as the team decides to revisit their roots before moving into a new era of horror gaming. The problem is, I’m not entirely sure Layers of Fear was actually worth revisiting, especially when this revisit does little to improve the original games beyond their original incarnations.

For the uninitiated, Bloober Team aren’t calling this new Layers of Fear a “remake” or “remaster” but instead a retooling of the entire series up to this point. The brand new Layers of Fear includes the original game, its Inheritance DLC, Layers of Fear 2, and a brand new chapter tying it all together, remade in an entirely new engine. The goal being to give players a definitive way to experience the elite Layers of Fear saga, in its entirety. The end result is not one I can entirely recommend, however, despite how ambitious the concept may be.

First and foremost, I don’t think enough time has passed between the release of the first Layers of Fear and now to warrant a remake of any sort. The original game was considered a “walking-sim,” guiding players through hallways of carefully curated scares. It wasn’t overly ambitious but was totally fine for what it was. This new revision saw Bloober Team go back and examine every single scare in the original game and determine if it would hold up today; sorry folks, the doll hilariously running into the wall has been removed. Unfortunately, the end result is a game that I don’t think is very scary. It boils down to loud jump scares that are ripe for YouTube let’s-players, but NONE of it truly brings the terror. This problem carries over to the new engine, which makes the entire game far too bright even after adjusting your settings. The oppressively dreadful mood of the original feels absent in this reimagined rendition of the game.

Layers of Fear 2 doesn’t fare much better. That first sequel was always a substantial step down from the original game and it hasn’t aged particularly well since its release, proving to be an absolute slog to get through and as a whole providing a far less interesting experience. It’s a shame too because I find the game’s “film” theme/setting to be more compelling than the painter set-up of the original. Bloober Team could’ve taken this revision as an opportunity to refine and clean up this sequel, but I feel that the lack of popularity of this entry left it behind.

Perhaps the most disappointing part of this new package is the new additional chapter titled “The Writer.” Bloober Team have talked up this chapter as the thread that will tie together the entire Layers of Fear series into one cohesive narrative circle. The problem is that the ways in which it ties into the rest of the series are unclear, mentioning moments from the past but never explicitly stating WHEN. It’s all so vague. The chapter is also a little on the shorter side, unless players explore every little nook and cranny; I estimate that it will take you no longer than one hour to fully experience this new chapter. “The Writer” is supposed to be the main draw to returning players who have already experienced these games in their original incarnations, and the fact that players can breeze through it leaves little to recommend this revision to those who’ve already been there, done that.

Layers of Fear feels like a celebration gone wrong. In an era of remakes and remasters that shine horror classics to a bright new sheen, Layers of Fear instead revises games that aren’t very old and makes them actively worse in the process. Sure this is a good way for new players to experience the entire series at once, but they’re getting a weaker version of the original game and a sequel that barely received any love to begin with. Returning players will find the new chapter lackluster, and I’m hard-pressed to recommend this to anyone, to be quite honest. There’s a lot to like in the Layers of Fear series, don’t get me wrong, but this revision focuses on the wrong aspects and leaves this celebration of the past a shell of its former self.

The original Layers of Fear came out in 2016, less than 10 years ago. It hasn’t aged terribly and still has redeeming qualities that make it worth playing, and it can also be bought for pennies in various sales throughout the year. This new reimagining, well, it proves that not every horror game needs to be remade or revisited. Sometimes, it’s a wholly unnecessary endeavor.

Layers of Fear is out now for the Xbox Series, PlayStation 5, and PC.

Review code provided by the publisher.

The post ‘Layers of Fear’ Review – Reimagined Horror Experience Does Little to Improve Upon the Recent Past appeared first on Bloody Disgusting!.

Suffice to say, I’m a pretty big fan of Puppet Combo as a whole. And it’s with great excitement that I can confidently say Stay Out of the House is the best game from them to date.

Stay Out of the House puts players in a fight for their life from an escape room of death. After two prologues that set the scene for the narrative, players find themselves trapped in the house of a sadistic cannibal killer. The game heavily borrows inspiration from Texas Chain Saw Massacre, The Hills Have Eyes, and oddly enough, Resident Evil 7: Biohazard. The story is a simple set up but soon unravels into something that I became infatuated with, a first time for me playing a Puppet Combo game. I was surprised with the themes of religious fanaticism; the juxtaposition of religious belief with acts of unspeakable horror provide for a more thought provoking experience than usual. The story is light but it’s one open to a great amount of interpretation.

Gameplay in Stay Out of the House is probably where I was most impressed. The game is formatted as an “escape room” type game with light immersion elements. Players will explore the cannibal’s bloody home in search of a way out, finding items along the way. Using a lighter I was able to navigate dark hallways and bedrooms, while using a screwdriver I was able to enter the vents of the house and move discreetly. The ultimate goal is to get out of the house alive… by any means.

This is where a surprise element comes in. There isn’t a game over when you’re caught by the cannibal but you’re instead recaptured and the house becomes harder to navigate with new obstacles and traps. The game encourages perfect runs to avoid harder elements. I found myself critically thinking about how to approach situations and get out with as little confrontation as possible. It is by far Puppet Combo’s most mechanically deep game and I’m stoked to finally see them deliver a game that feels like a complete experience right out of the gate.

As always, Puppet Combo delivers on the PS1 and VHS era retro aesthetic but there’s a great amount of options to tailor your experience including a bevy of filters and an FOV slider. While you’ll be pressed to keep the VHS filter on, I like having the option of being able to turn it off. Having more options is never a bad thing. Performance on console is great as well, as I never ran into any issues or crashes in my time with the game. For the record, I played on PS5 for the entirety of my review.

Do I recommend Stay Out of the House? You bet. I usually recommend giving every Puppet Combo game a try, but there’s something special about Stay Out of the House. Puppet Combo delivers a game with a fascinating story, and deeper gameplay mechanics that all blend together very well. If you’re a fan, you’re in for a treat. If you’ve never played a Puppet Combo game before, this is a great one to jump into. For $15, this game is an absolute value. In fact, Stay Out of the House is easily one of my favorite games this year.

Stay Out of the House is now available on Xbox One, Xbox Series, PlayStation 4, PlayStation 5 and the Nintendo Switch.

Review copy provided by the publisher.

The post ‘Stay Out of the House’ Review – Why the Retro Slasher Is Puppet Combo’s Best Game to Date appeared first on Bloody Disgusting!.

In comes Killer Frequency to change all of that; and it’s an absolute blast. If I had to pin it down, it feels like playing a video game version of the opening of The Texas Chainsaw Massacre Part 2 (the best one). That may sound like it’s coming out of nowhere with the angle but Killer Frequency puts players in the role of Forrest Nash, a disgraced radio DJ who moves from Chicago to the small town of Gallows Creek. It may seem like a drastic downgrade but Gallows Creek was home to a ruthless serial killer named the Whistling Man who disappeared without a trace.

It’s a fantastic set-up, and after a brief opening, players are thrown into the radio booth where Forest is about to have a really bad night.

Players are expected to deliver on the duties of a radio host. They’ll pick records to play, introduce songs, run ad reads and answer late night calls. Most everything in the radio station has some level of interaction and it’s an absolute joy to “work” at this radio station. It feels like stepping into a time machine and stepping back out into the mid-80s. It’s wild to pick out a song to play, and introduce it like you would an actual DJ. With intuitive yet simple controls I was running things like clockwork and felt as if I was ready for a shift at my local radio station. Some people may find this opening to be a bit slow but for me it provided a great example of world building. That said, I can see this becoming an annoyance on repeat playthroughs.

Once you get your bearings is where the real story begins and Killer Frequency comes into its own as a unique horror experience. After a series of mishaps, Forrest’s late night radio show becomes the 911 dispatch for Gallows Creek and he has to contend with the return of the Whistling Man who is stalking the town. At regular intervals throughout the night, residents will call into Forrest’s show and ask for help in escaping the Whistling Man. The residents are fully fleshed out and it’s entertaining as hell to hear Forrest bring his radio DJ humor to serious situations which keeps the tone light and enjoyable. This slasher story isn’t an exercise in misery or gore but instead a comedy horror romp in the vein of The Texas Chainsaw Massacre 2.

See where the comparisons are starting to turn up?

While residents call in, Forrest is tasked with helping them in their escape. These range from walking a woman through hotwiring a car or helping a man trapped in an office building find a safe path away from the killer. These situations quickly turn into brain twisting puzzles and with timed responses and reactions, I found myself stressed (in a good way) during every single encounter. There were even a few moments when I thought for sure I had helped the resident with their task only to hear their untimely (and I’m assuming bloody) demise on the other end of the line. Killer Frequency makes me want to replay it to see if I can save everybody or nobody at all, a feeling I haven’t really had since playing The Quarry last year. The choices are there for you to make but they’re never as obvious as you might hope. It’s a great sign that when I hit the end credits of a game, I’m curious to fire it back up again and see what I could do differently.

The story in Killer Frequency is fascinating but a lot of it plays out off screen so mileage may vary. I do admittedly like my slashers to be visual gore-fests, but this one ended up working for me all the same. That said, the art style is impeccable and delicious in its display. With the game being set in the mid-80s, there’s a wealth of neon and color but also wood paneling evocative of the era. The attention to detail is something to praise and that also comes out in the sound department with music cues that are era appropriate, from bumping synthwave to hard rock and everything in between. The vibes are there and there’s something for everybody.

The game runs at a rock solid 60fps on my PS5, though I would’ve liked an FOV slider as the standard view feels a little too close for comfort. For the most part, expect a smooth experience.

Killer Frequency is a pretty unique slasher video game that wears its bloody heart on its sleeve. It may not appeal to every taste but if you give it a shot you may be surprised at how unlike any other game the experience truly is. Slasher games are hard to come by so it’s a great thing when one comes out of nowhere and ends up being a blast. Killer Frequency might not work for me on every single level, but I sure am glad it exists.

Killer Frequency is now available on PC and consoles.

Review code provided by the publisher.

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For fans, the Amnesia series was back and could go anywhere.

The problem is, however, I was never a fan of the series. I found the first game to be an excruciating exercise in patience. Survival-horror to me represents both “survival” and “horror” in equal measure. I didn’t find it very fun to stumble around in the dark, balancing lantern oil with no way to defend myself other than…run. I could see the marks of genius and craft hidden in its design but it never appealed to me on a personal level. The sequel fared even worse in my eyes and I fell off within 30 minutes of starting it, still never finishing it to this day. For the longest time it felt as if the Amnesia series was never going to appeal to me despite how bad I wanted to get into a franchise that kept horror gaming alive through the dark times.

I thought it was a lost cause until I booted up Amnesia: The Bunker.

The Bunker promises to be a reinvention of the Amnesia franchise. Introducing a semi-open map, inventory boxes and most importantly: a way to defend yourself. With these additions, it finally clicked in my mind what makes the Amnesia series great. The feeling of dread as you struggle to make progress, always pushing forward and unsure if your next step is going to be your last. It’s a thrill that reminds me why I love survival horror in the first place. The Bunker makes strides to deliver one of the most thrilling and stressful horror experiences in recent memory.

You play as a French soldier named Henri, who after an explosive introduction, is injured on the frontlines of World War I. After waking up in a medical bay in an underground bunker, you soon realize something is horribly wrong. The entire bunker is abandoned and the exits have been sealed off to trap a horrifying monster inside. With no knowledge of what happened, you set out to explore the darkest depths of the bunker, and survive the horrors that await. This has to be one of the most unique settings I’ve seen for a horror game. We hear about the horrors of WWI a lot, but to see it as the backdrop for a modern horror tale is pretty chilling. It’s also unique enough that I can’t help but be totally fascinated with the creative choice that was made here.

Gameplay in this installment is highly improved. Right off the bat, players are given an era-appropriate flashlight that feels like the perfect middle ground between the original game’s lantern that required oil, and the infinite lantern from A Machine for Pigs. Instead of using oil, your light source eventually goes out and you’re required to recharge it. There’s just one issue: every time you crank it, it makes noise. It’s an absolutely horrifying experience having to choose between recharging your light source or braving the depths in the dark.

The best part of the gameplay is the new addition of self-defense. Players this time are armed with a single revolver that holds six shots. Don’t worry, you won’t be blasting your way through hallways Resident Evil style, but instead this weapon is clunky and sort of a hassle to use. You have to manually load bullets into it as well as empty shells after every shot. But if you line everything up just right, it can easily save your life. I appreciate the more realistic take on firearms compared to other contemporaries; I felt like I was holding a tool of destruction that could end my life as easily as it saved it. A very unique feeling for a video game, indeed.

As you explore the bunker you’ll solve puzzles and environmental obstacles to help you progress. There’s even an inventory box mechanic not unlike the Resident Evil series. Where I feel The Bunker fully comes together is when a lightbulb goes off in your head and you realize the solution to a problem and plot your way through very carefully to ensure survival. It once again reminds me of old-school style Resident Evil games, something we haven’t gotten much as of late. 

The story takes a backseat to the gameplay as most of it is tied to logs and journals you find. It’s there if you want it, but doesn’t feel overbearing. As for the scares? There were moments where I felt on the verge of a heart attack or barely made it out of a situation alive. Encounters felt like a fight for survival and that’s exactly what I want from a survival horror game.

Performance in the game is pretty good, too. I played the PS4 version on my PS5 and never ran into any crashes or game-breaking bugs. The game also ran at a smooth framerate, which is a must for first-person horror games. 

Do I recommend The Bunker? Absolutely. Whereas the original game kept horror games alive, this new installment is keeping the spirit of old-school design alive. While horror gaming is experiencing a huge renaissance and bigger visions, The Bunker chooses to embrace a more classic design that feels like a breath of fresh air. In the process it solves nearly every negative aspect of previous entries, even if the story is a little light. This is the Amnesia series at its most exciting. I wasn’t a fan before but if this is the future of the franchise, I sure am now.

Amnesia: The Bunker releases on June 6, 2023.

Review code provided by the publisher.

The post ‘Amnesia: The Bunker’ Review – How I Finally Became a Fan of the ‘Amnesia’ Franchise appeared first on Bloody Disgusting!.

So what’s new with Diablo IV? Does it live up to the standard that’s been set by other mainline entries? Well, yes and no.

On the surface, Diablo IV is just taking the series formula and applying it to a massive open world, which is no small feat. Bygone Diablo eras have been relegated to individual zones that bookmarked each act in the story. Diablo IV not only features a massive open world but it’s no longer randomized either. For the first time in the series, players will memorize landmarks and locales they come across on their journey; and for the first time in my long history with the series, I felt a genuine connection to the world I was saving from the forces of hell.

Amongst the world are dungeons and cellars that provide players with the procedurally generated areas that people have come to expect with a Diablo game. I found it fascinating to stumble upon a new dungeon in my travels and have it use a tile set for the area I was in. For example, a cave in a snowy area will use a tile set that creates a frozen cave based on its position in the world. I was worried all of these map/world changes would take away that feeling of discovery and not knowing what dangers lurk in the world of Diablo, but instead I found the maps and dungeons constantly engaging.

Gameplay in Diablo IV is polished to a bright sheen. Blizzard takes every lesson learned from previous entries and expansions and applies it to the base game in an effort to have the best playing entry in the franchise. They succeed for the most part. Gone are the blistering speeds of Diablo III and instead replaced with a more thought out pace of gameplay more evocative of Diablo II. There’s but a single dodge ability that’s also on a cooldown but you’re able to upgrade this later on to allow you to dodge more than once in any given situation. The issue that arises with this though is that early on, the dodge is so limited that I found myself not relying on it at all. Playing as the Rogue class helped reinforce the issue with this as I focused on a ranged build and found myself almost never hitting the dodge button because of the cooldown or need for it. A bummer, since it felt like I wasn’t utilizing everything in my arsenal.

The new health potion system, on the other hand, I’m a huge fan of. Players start with 4 health charges on a cooldown ability (though they’re able to upgrade to more later) and enemies and crates in the world drop more charges to replenish the pool and cooldown. It’s a great balance between the old days of potion abuse in Diablo II and the cooldown potion in Diablo III and never felt unfair in my time of play. What did feel unfair, at times, was the difficulty. For my Rogue run I played on “World Tier I” (Normal) and for my Barbarian I played on “World Tier II” (Hard).

Players are tasked with creating their hero using a new character creator (I went with a Rogue and Barbarian for my review) and are thrown into the world of Sanctuary as the demon lord Lillith rises to power. Over the course of battling and exploring you’ll spend skill points to add more to your toolkit. This is where Diablo IV is a huge improvement over its immediate predecessor. Where in Diablo III players were presented with only 1-2 choices per level skill-wise, in this game an entire skill tree was opened up that allowed me to choose what my starting skill would be. It allows for a greater emphasis on unique builds and, combined with the creator, I found myself far more attached to my character than in previous games.

There are hub areas in the game that will serve as the player’s homebase and here is where services like the blacksmith, shopkeeper, gem mystic and wardrobe (used to transmogify items) are located. You’re also able to upgrade your health charges here as well. Having all these services available from the start means that series veterans are quickly able to get into the action and new players are given services that were sometimes reserved for expansions. As a whole, the amount of features and services available in Diablo IV rivals that of Diablo III late in its life. It’s great that none of the features we’ve come to expect have disappeared and are available from the start right out of the box.

Diablo IV also has quite a large emphasis on story this time around. This review is spoiler free but I will say in my time with the game, there were far more cutscenes and lore this time around. This is great for players that want to immerse themselves in this world but players who are in this for the loot and the grind may find themselves hitting the “skip cutscene” button far more than they expect. I’m the type of player that found myself putting off the story in favor of exploring the open world and discovering hidden dungeons and quests in search of more loot, but it’s nice to know that players who want to experience a good, well-crafted story won’t be left out. I’m just not sure who would play Diablo for this reason.

Diablo IV’s biggest issue is the lack of innovation. Every gameplay improvement and feature is built upon lessons learned from previous entries. Though it’s polished to the brightest of sheens, in no way does it feel like a massive improvement upon the preceding games. Remember how I said the Diablo games have always felt like paradigm shifts in their genre whenever one releases? The disappointing part of Diablo IV is that it doesn’t feel like that. Setting the game in a massive open world isn’t enough and though it’s exciting to explore, at times the only element I feel it adds to core Diablo is that there is no loading in between hubs anymore and players can now travel there on foot. It’s been 11 years since the last game and I’ll be damned to determine what exactly Diablo IV does far better than Diablo III: Reaper of Souls when it reached the end of development. 

Blizzard is also requiring a constant online connection on consoles this time around. My experience with this was very good and stable but some players may want to hold off to see how the game performs. Blizzard have also been transparent about the “live-service” element of the game taking the form of cosmetic battle pass and story updates. Though neither were available in my build, it’s worth keeping an eye on upon launch and making a judgment call for yourself. Speaking of performance, I played both the PS4 and the PS5 versions of the game. The PS4 version played at 30 frames per second which is down from the 60 frames per second that Diablo III played at on the system. The PS5 version played at a rock solid 60 frames per second and felt insanely good to play. Diablo IV also features a gorgeous artstyle and visuals that feel like a death metal album cover come to life. If the Warcraft art style of Diablo III wasn’t to your liking, I’m happy to report Diablo IV brings back all the satanic gore imagery that you loved in the second game.

Overall, I had an absolute blast in my time with Diablo IV. It takes the greatest ideas and gameplay systems of the series and applies them to an open world setting with an artstyle taking inspiration from the satanic imagery from Diablo II. As someone who has 500+ hours logged in Diablo II and 1000+ hours in Diablo III, I can’t wait to get lost in Diablo IV for years to come, especially with new seasons and story updates that Blizzard has already promised. The future looks admittedly bright for Diablo IV. It’s easily one of the most refined action role playing experiences you can get, even if its lack of ambition holds it back from reaching full greatness. Highly recommended.

Diablo IV will be released on June 6, 2023.

Review code provided by the publisher.

The post ‘Diablo IV’ Review – Open World Sequel Refines the Best of the ‘Diablo’ Franchise appeared first on Bloody Disgusting!.

So what exactly is No One Lives Under the Lighthouse? The game is a slow burn horror title that borrows inspirations from the puzzle solving days of survival horror games. The game has a very intentional graphical style, evocative of the early days of the PlayStation. Players will take on the role of a lighthouse keeper who’s called in after the disappearance of the previous keeper. Slowly as you play out your nightly ritual of tending to the lighthouse, the story begins to unravel itself in surprising ways.

It’s a simple game; even non-gamers will be able to jump in and enjoy the experience.

Most of the gameplay revolves around light puzzle solving and exploration on the island. You are there to tend to the lighthouse so you’ll need to find the tools to keep it up and take care of it. It gets to a certain point that the lighthouse itself feels like a central character. Constantly looming overhead with a creepy aura about it. As changes manifest throughout the world it becomes increasingly clear that not all is as it seems, which is what makes No One Lives Under the Lighthouse so compelling.

The gameplay represents a means to an end. Sure, the tasks you complete are monotonous and technically chores, but you’re rewarded with more story as you go along. Unfortunately, gameplay-wise I would’ve liked a bit more in this department. I won’t mention spoilers, but even though the game opens up a bit in the latter portions, I was still left wanting more.

The story, on the other hand, is where No One Lives Under the Lighthouse shines. While at first many will be quick to point out similarities to the 2019 film The Lighthouse, the game soon differentiates itself by allowing its environment to manifest physical changes in unexpected ways. And it’s all tied to a story that unfolds as an unraveling of sanity. It’s good stuff and I highly recommend you go spoiler free. Unfortunately, even as a 2-hour experience I wasn’t a fan of the slow burn storytelling. This isn’t a knock against it, though, because what’s on display is very well crafted. Fans of abstract horror in particular are sure to find something to love here.

At the end of the day, No One Lives Under the Lighthouse is a short but sweet experience for horror fans. With an intriguing story and absolutely haunting atmosphere that is sure to please fans of the genre and an art style that is reminiscent of your favorite retro games. It has a low barrier to entry and achieves everything it sets out to do. It may not be breaking any ground but sometimes all you want is a well-crafted horror experience, and this one delivers in spades.

Review code provided by the publisher.

The post ‘No One Lives Under the Lighthouse’ Review – A Well-Crafted, 2-Hour Horror Experience appeared first on Bloody Disgusting!.

Redfall is a co-op looter shooter in which players pick one of four characters with their own unique personalities and abilities. They then enter Redfall, Massachusetts where a cataclysmic event has caused the town to be overrun with vampires and the sun permanently blocked out. Think Borderlands crossed with Dracula. Sure it may sound different from anything else Arkane has made in the past, but their history has proven time and time again that they make nothing but quality titles; plus it’s a game with goddamn vampires and that’s an absolute rarity in today’s landscape. I went into Redfall with excitement and an open mind, eager to explore the horrors that Arkane had crafted for me in their latest adventure.

Redfall is not only one of the most disappointing games of 2023, it’s also one of the worst.

After a brief introduction and character selection you’re thrown into the town of Redfall, filled with cultists and vampires. The tutorial establishes early on that since this is an Arkane game, most objectives can be completed in multiple different routes. To take back the game’s first safehouse, I had the option of sneaking to the roof and taking out the cultists from above, or going in absolutely guns blazing. Both options lead to a big gunfight regardless so I kicked the door in and started blasting. This early scenario is a prime example of Redfall’s seams showing nearly right away. The previous encounter showed me that I could sneak past enemies or engage them on the way to my objective and this one taught me there’s more than one way of engaging them when I do. Notice something missing? There’s little emphasis on stealth and player freedom. Most encounters boil down to loud gunfights, especially when you start to realize that sneaking past enemies and encounters awards no XP. Arkane games are usually known for multiple methods and player freedom when it comes to gameplay, but Redfall comes out of the gate saying “we don’t do that here.”

This wouldn’t be a problem if the game felt good to play. Gunplay is very clunky and there’s never a proper sense of speed or momentum when in encounters with enemies. Not even unique abilities can make it feel more lively. I chose the character who was able to summon a telepathic elevator that allowed her and allies to fly through the air. I thought this would open up opportunities for cool air combat such as popping off headshots while airborne but instead it feels so heavy that she came crashing down to the floor after only a second or so. And when you do finally encounter the blood-sucking undead, little about your tactics change. They have spotty AI, acting like normal cultists who have the ability to teleport around. You pump rounds into them and swap to a weapon with a bayonet (usually a shotgun or rifle) and stake them to finish them off; rinse and repeat. This is how 90% of my encounters went down. Sure, I got more unlocks from the grindy skill tree, but Redfall just felt more and more monotonous as it went on.

Objectives don’t do much to mix up the game play, either. You start each session in a safehouse with various weapons and supplies and travel out into the town doing missions that usually boil down to either “go here and kill thing” or “go here and secure thing,” while occasionally coming across an enemy-populated outpost to clear out. It in some ways feels like a spiritual successor to Far Cry, which is odd because they still make those games. I got the idea that these were really meant to be done in one way when objectives started having unlimited ammo boxes near them, encouraging fire fights. Traveling through the town from objective to objective isn’t a very fun experience, as the town is sparsely populated aside from a few pockets of enemies and some houses to explore for maybe a better weapon. I found myself mostly salvaging loot to buy health packs, and the extent of exploration usually means holding down a single button to use a lockpick. It’s a drab experience to put it lightly, from a studio that created the unique worlds and missions of Dishonored, Prey, and Deathloop. Redfall is a considerable step down from the studio’s efforts, feeling like an odd mishmash of game mechanics that don’t work. None of it works as intended.

And then there’s the sparse story, filled with common horror tropes and hardly a focus of the experience. It’s clear that this was a game made with multiplayer in mind. Which is odd because 90% of Arkane’s previous catalog is single player only. Those of you jumping in hoping for a solid single player experience are in for a surprise as the game doesn’t feel balanced for solo play. On Normal difficulty, I found myself getting wildly overrun in every encounter; this combined with the slow “hold to heal” mechanic allowed me to see my fair share of Game Over screens.

Now to address the elephant in the room. At launch, Redfall requires an always online connection to play, even in single-player mode. Arkane has come out ahead of launch and said that this is to “analyze player behavior” to find glitches and bugs, but they are currently looking into removing it in a future update. The game also has no performance mode at launch meaning that on both models of Xbox, the Series S and X, the game is hard locked with a 30fps framecap. They have promised that a 60fps performance mode will also come in a later update. These two features missing at launch have the game feeling massively unfinished in its current state. It’s also curious because graphically the game isn’t all that complex; in fact on my Xbox it looked worse than Deathloop, which is a game from 2021. I’m not sure if it’s multiplayer holding this game back in the technical department, but the game just does not feel good to play or control.

Redfall is a game I had high hopes for. I knew going in that it was going to be different than what the studio usually released. Unfortunately it lacks the polish and top notch gameplay designs that made them a powerhouse name. When the game’s problems stack up, Redfall dies by a thousand cuts. At best, it’s a very generic looter shooter. At worst, it’s a boring take on vampires from a studio known for their impressive pedigree. There could be hope if the game receives a MASSIVE overhaul that adds new objectives, enemy types, a difficulty balance, and the promised offline and performance modes. But as of now, none of that is here.

As it stands, I do not recommend Redfall at all. Like a stake through my heart.

Review code provided by the publisher.

The post ‘Redfall’ Review – Vampire Shooter Is a Disappointing Step Backwards for Arkane Studios appeared first on Bloody Disgusting!.

That’s the most obvious quality I noticed when jumping into the game. There’s just MORE of everything here. Almost every single aspect of Fallen Order has been expanded on in some way or form. That’s expected with a sequel, of course, but it’s almost staggering to think of where to even begin when talking about Jedi: Survivor.

Picking up five years after the events of the previous game, Jedi: Survivor continues the adventures of Cal Kestis. After protecting every force-sensitive child in the galaxy by destroying the holocron that contained all their data, he wanders aimlessly with one goal in mind: take the fight to the Galactic Empire. In an opening set on a famous Star Wars planet, you’re introduced to the game’s controls and mechanics. This tutorial is by far the most lackluster part of the game. See, Jedi: Survivor at its core borrows a lot of design inspiration from the Dark Souls series, with levels that twist in on themselves and open new pathways and shortcuts as you fight to get to the next save point in the form of a Jedi meditation point. This linear opening sequence doesn’t do the game justice and is honestly inconsequential in numerous ways.

The game expands wildly when you reach Koboh, one of the game’s main hubs. Here, Jedi: Survivor shows its biggest upgrade in the form of a huge map to explore featuring numerous blocked paths, alternate routes, trading posts and hidden areas to discover. While levels in Fallen Order felt like taking a carefully crafted tour through Star Wars’ most famous planets, Jedi: Survivor makes them feel like real lived-in places with rich history. They’re absolutely gorgeous vistas that Respawn should be commended for as they accurately portray this galaxy far far away. 

These areas open up as Cal upgrades his traversal abilities. While he starts with most of the abilities he has at the end of Fallen Order, this game adds even more to his arsenal that makes platforming and exploration an absolute joy. Cal’s traversal is so fun to use it reminds me of the trademark traversal in Titanfall that made Respawn famous. Linking together wall runs, double jumping, swinging and other unlockable abilities is great fun and never feels like a chore; especially when used in expansive environments to cover ground easier. There’s also the addition of rideable mounts that clear even more ground with great speed and allow you to take in the scenery. Honestly, my favorite new element of Jedi: Survivor are these expanded areas. They allowed me to fully explore the Star Wars universe in ways I could only imagine before. There are also Zelda-inspired dungeon areas where Cal has to use the tools in his arsenal to solve environmental puzzles and combat challenges where he’s forced to encounter brutally difficult enemies with certain parameters activated. The rewards make these areas worth exploring and I never felt as if I wasted my time with them; but good lord a few of them will make you work for your reward.

Combat in the game is also widely improved across the board. In Fallen Order, Cal was equipped with his lightsaber that included a double bladed opening for crowd control. Players were encouraged to use parries and proper tactics and force powers (such as push, pull, and freeze time) to deal with situations and all of it felt very intentional if not a tad restrictive as it neared its ending hours. This time around Cal has multiple combat stances that he’s able to equip at any meditation point. Not a fan of the double-bladed saber? Swap that out for dual wielding blades Starkiller-styler. Want to focus on heavy defense? The crossguard stance mimics a greatsword from the Souls games and has a devastating attack. These new stances combined with Cal’s force powers keep combat feeling fresh throughout the entirety of the playthrough and allow for a greater deal of player freedom in how they choose to tackle combat situations. Worth noting that Cal’s time-stop force power no longer targets a single enemy but has a separate meter all its own that affects every enemy in an area. This power saved me in numerous encounters and boss fights when I was feeling overwhelmed; but being tied to a meter, it never felt like an instant win button.

Cal is also able to be customized using various unlockable cosmetics found in chests or at trading posts. Everything from his outfit, facial hair, lightsaber and blaster players are fully free to customize. This helped me feel far more invested as a player as I felt like he was my version of him continuing from the previous installment. It’s just cosmetics and don’t provide any gameplay improvements, but an option like this is always welcome.

The story is told expertly well in Jedi: Survivor. Fallen Order was a great surprise with its heavy emphasis on telling a well-crafted single player story and Jedi: Survivor continues this tradition. I was happy to reunite with characters such as Greez, Cere and Merrin. Overall though, the story is far weaker than it was in the previous installment. Fallen Order’s tight focus allowed me to get invested in its constantly moving story and in Jedi: Survivor, I’m afraid it’s a little too big for its britches in this department. It’s not bad, just weaker, but is still able to deliver on some absolutely jaw dropping moments I won’t spoil here. The new characters (especially the villains) are far less interesting than those that came before and I found the story to lack a sense of urgency as a result of the more open-ended gameplay. In a franchise that has given us wonderful middle chapters such as The Empire Strikes Back and The Last Jedi, Jedi: Survivor falls short on this front.

Performance on the game is acceptable. I played most of the time in the game’s performance mode that runs at 1440p/60 frames per second on the PS5. I ran into some alarming issues such as screen tearing and massive performance drops but I can confidently say most of these issues have been ironed out in the Day 0 patch. Still though, expect something around 50 frames per second in the game’s larger hub areas. The game also has welcome features such as an FOV adjuster and the ability to turn off motion blur and other effects. One thing I’m very much not a fan of is that the in-game cutscenes are locked in a 4K/30fps mode. It’s absolutely jarring to go from 60fps gameplay to a 30fps cutscene and back. I’m not sure if it’s just me but this causes a huge strain on my eyes, and I hope it’s something Respawn can patch in the future.

Overall Star Wars Jedi: Survivor is a LOT of game for better and worse. Nearly every single aspect of the gameplay has been finely tuned and improved across the board, but the story takes a massive hit because of it. Still, I enjoyed the absolute hell out of Jedi: Survivor and highly recommend it to not only Star Wars fans but action-game fans who are looking for a great single player experience. With talks of a planned third installment of this saga, we’re in for one hell of a great Star Wars trilogy, particularly if Respawn are able to nail the story next time.

As it stands today? Jedi: Survivor is an absolute must play.

Review code provided by the publisher.

The post ‘Star Wars Jedi: Survivor’ Review – Why the ‘Star Wars’ Sequel Is a Must-Play for Fans of ‘Fallen Order’ appeared first on Bloody Disgusting!.

When the first Dead Island released all the way back in 2011 (yes it’s been that long), publisher Deep Silver and original developer Techland delivered a satisfying take on the zombie genre with an open map to explore, characters to upgrade, and wild weapons to customize. Now after its initial announcement in 2014 (yes it’s been that long), we finally have the long awaited follow-up. With a brand new setting, a new developer in the form of Dambuster Studios, and all new gameplay mechanics, I’m happy to report that Dead Island 2 is not the game I expected after all these years. It’s better than I could have ever hoped, as well as an absolute love letter to horror movies, the sunny skies of California, and our insatiable appetite for destruction.

Dead Island 2 starts off with a bang showing a zombie virus ravage the city of Los Angeles in ways that would make the biggest horror fan blush. From its opening moments you pick from one of six playable characters that had the misfortune of attempting an escape from the city that’s lovingly dubbed “Hell-A,” each equipped with their own unique skills. These range from Amy, a Paralympic runner who’s able to regain stamina when she lunges a weapon at a zombie, to Jacob, the stuntman who receives a stacking damage boost when attacking multiple zombies in a row. For my playthrough I chose Dani, a foul-mouthed rockabilly queen who gains Bloodlust when she kills a zombie, allowing her to recover health for a limited period. 

After the explosive opening you’re then dropped into the upscale neighborhood of Bel-Air to try and find another way out of the quarantined city before you’re completely overrun. Dead Island 2 ditches the open-map design of previous games in favor of nine distinct districts based on real life locations in Los Angeles, divided by loading screens. These districts aren’t that large but are densely packed with multiple buildings to explore for resources along with side quests to undertake. I had a smile on my face as I explored locations like the upscale neighborhood of Beverly Hills or a zombie-infested movie studio lot. One aspect of exploration that really stands out for me is the unexpected use of light immersive sim elements and problem solving. For example, I found myself locked out of an area of a content house and needed a key to get in to grab the loot inside. Rather than find the key myself, I found a way around the building and decided to smash a window in the back, allowing me to go inside and grab what I wanted. Dead Island 2 rewards players who decide to explore the environment to its fullest. If I had to compare the environments to any other game it would be BioShock, where levels feel linear at first but open up when you start to use the tools and cleverness at your disposal.

Combat in Dead Island 2 is centered around feeling like an absolute badass with a wide variety of melee weapons, firearms and abilities. Though near the start of the game I found myself frantically grabbing whatever breakable weapon I could find in an effort to barely survive, when I unlocked workbenches I was able to upgrade the weapons I found into tools of pure zombie destruction. Whether this was turning my katana into an eclectic sword or giving my sledgehammer acidic abilities, the amount of experimentation and freedom players have in their weapon building is plentiful. Players also have freedom in the way they build their characters.

In lieu of the traditional skill tree seen in the first game, players are able to equip cards to alter how their character plays. For example, I equipped a card that set off a sonic boom every time I healed myself with a med-pack, and another that allowed me to unleash a devastating ground stomp. I appreciated how these various cards were able to be swapped out and changed any time, encouraging me to try out various builds and abilities instead of locking me into one singular path on a grindy skill tree. The player will also eventually gain the powers of the undead themselves and be able to activate various gory abilities, adding more to the power fantasy that games like BioShock have given me in the past.

I can’t believe I’m saying this but Dead Island 2 reminds me so much of BioShock in the ways it allows players to have freedom with their weapons and abilities and choose how to tackle bosses and enemies in their environment. At times the game feels like more of a spiritual successor to the BioShock series instead of a direct continuation of gameplay ideas from the first game. It feels so focused. This game could have easily been a bloated open-world zombie sequel, but by pulling back the reins and focusing on the strengths of gameplay design, Dead Island 2 is able to shine. 

The story in Dead Island 2 also plays out in a surprising manner featuring many unexpected turns throughout, all delivered by great voice acting. I grew particularly fond of the British movie starlet that let me use her massive Bel-Air mansion as a base of operations and found myself chuckling at the Venice bodybuilder parody character. I won’t spoil it here but the story is also VERY much a sequel to the original Dead Island. After such a long development cycle with multiple studios attached at various points, it would’ve been so easy to slam the reboot button on this universe. Thankfully, that didn’t end up being the case with Dead Island 2.

Playing on the PS5, I ran into very few issues, with the game hitting the 60 frames per second goal more often than not. Zombies are highly detailed and the gore system attached to them is very impressive. You can take a flame weapon to a zombie and a torched husk will be left of them whereas if you kill one with acid they turn into a gooey mess. For those curious: yes the game has a full dismemberment system and you can maim zombies by aiming for certain parts of them such as legs and arms which is great for getting the upper hand on the hordes. I found myself experimenting to see which ways I could dispatch the undead in the most jaw-droppingly gory ways possible. Worth noting is that the game has a great deal of settings that I personally look for in a first-person game as well, such as an FOV slider and the ability to turn off motion blur.

Dead Island 2 in many ways feels like a relic of a game, but a golden relic. It takes outdated game designs and updates and polishes them to a bright sheen. From the amount of player freedom to the loving tribute to horror movies and Los Angeles. Top to bottom, Dead Island 2 is an enjoyable experience and even more so with friends. In a gaming landscape with an overwhelming amount of open-world and live-service games, it’s a breath of fresh air to get a gem like Dead Island 2. 

Review code provided by the publisher.

Dead Island 2 releases on Friday, April 21.

The post ‘Dead Island 2’ Review – Zombie-Slaying Sequel Fully Satisfies Our Appetite for Destruction appeared first on Bloody Disgusting!.

It’s been a while since we’ve gotten a proper Diablo release. The disappointing mobile game Immortal released last year and Diablo III released all the way back in 2012, so a lot is riding on this new entry to pull players back and keep them hooked for years to come. 

Here are some thoughts on the Diablo IV open beta…

Diablo is evolving with the times… for better and worse.

Diablo itself has never really existed in an age of battle passes and microtransactions. Sure there was the infamous auction house in Diablo III that was eventually removed, but for the most part players have had to rely on seasons and massive expansions to keep coming back for more. Coming up on the heels of its 11th anniversary, I still find myself going back to the third game’s Reaper of Souls expansion to grind out new loot and paragon levels in the fantastic Adventure mode. I think by this point I’ve logged well over 1,000 hours, not even counting the time I’ve played on other consoles such as the Switch. Point being, Diablo III has kept me hooked for well over 11 years without the need for constant live-service elements.

Diablo IV brings in battle passes and a constant need for an internet connection for it to be playable. Though PC players are no strangers to this, it’s the first time the internet mandate has been made for consoles; and if the recent launch of Overwatch 2 is anything to go by, we can probably expect a plethora of issues at launch. Hell, in my brief time with the beta I came across such severe lag that my character started rubber banding across the entire environment despite me having the best internet connection offered in Southern California.

Blizzard has gone on to say that Battle Passes in Diablo IV will only offer cosmetics while regular story content drops will be available for all players. After the fiasco that was Immortal I’m honestly not holding my breath. I don’t see how players can be enticed to buy regular battle passes for a game that already costs $69.99 to play. If the game was free-to-play like Overwatch 2,  maybe I could understand, but as it stands there’s too many unknowns other than knowing the game will be asking for my money at some point.

On the other side of the coin, regular updates could prevent long content droughts that have plagued Diablo games in the past before expansions dropped.

Enough about live-services and battle passes. Tell us about the game already!

I played the beta on my PS5, and one thing is clear from the jump: this game is borrowing a lot more from Diablo II than Diablo III. Characters feel far more weighty than the lightweight speed machines of the previous game. With this change, combat feels more methodical like it did in Diablo II, which is a very good thing. In the previous game, I found myself speeding through Hard and the first few levels of Torment difficulty whereas in Diablo IV I found myself having to think about when to use my skills and proper attack timing to survive on the beta’s harder difficulty. A great addition is in the form of more robust character customization. Unlike the previous game where you were tied to a look based on your class/gender, Diablo IV allows you to edit your character once you choose your class. Having a Barbarian that I crafted myself, I felt a far deeper connection to my character than ever before.

Inspiration from Diablo II not only comes through in the combat and gameplay design but in the art style as well. Diablo IV brings back the dark gothic look that was sorely missed in the third game. While that game was bright and colorful and felt at times like an ARPG spin-off of Warcraft, Diablo IV brings back the dark blood-covered dungeon designs of the second game while applying it to an open world formula. Probably the biggest change in gameplay is that the entire game takes place on one map with tons of randomly generated dungeons, which means no more using portals to transport to different hub areas anymore. It’s a very welcome and ambitious change. While only a small area was available in the beta, players were given a glimpse of the full map which appears to be massive. For the first time ever I’m excited to explore a Diablo game’s world.

New gameplay adjustments have also been applied to the health potion and dodge mechanics. Diablo III had traditional health potion pickups where you could just stockpile an enormous amount and go about your merry way. This was updated eventually to turn the health potions into a cooldown ability and while sometimes a hindrance, health pickups were constantly being dropped from enemies to make up for it. In Diablo IV the health potion now has 4 charges max and enemies drop more charges. This is a smart design choice because it allows players to have a reliable way of healing but not an infinite resource of it and encourages exploration and aggression to refill charges. I’m a big fan of this change and it seems like Blizzard has finally solved the health potion problem that has been plaguing this series for years.

A change I’m not a fan of, however, is the new dodge mechanic. When Diablo III was ported to consoles, a new dodge was added to the game that allowed players to quickly move directions with the flick of the right thumbstick. Now the dodge is mapped to the circle button on PS5 and has a cooldown after every use. It feels needlessly clunky and I wish there was a way to map it to the right stick. As for the dodge cooldown, I’m torn. On one hand, I loved how fast and fluid it made combat feel in the third game but I get how that wouldn’t fit into the combat design of the fourth game. I almost wish they went the Diablo II route and took away the dodge button entirely.

Diablo IV features a robust skill tree as compared to the rune equipping system of the previous game. When skills are unlocked, you’re able to assign them to any button you please (except the dodge button) and it seems like player builds are about to have a lot more freedom than ever before. A welcome return to form. One worrying aspect is the UI, especially on consoles. The previous game featured a great console port replacing PC menus with radial menus designed for controls. Unfortunately the same can’t be said here as it seems the same menus from PC are here, virtual mouse and all. It’s not all roses but I’m willing to accept this as it didn’t entirely ruin my gameplay experience.

Final thoughts?

I liked my time with Diablo IV’s beta. While the gameplay and art direction are huge standouts and improvements from the previous game, the monetization and always online requirement are something I’m going to have to warm up to. With a fully explorable world, intense story, and large content plan, I can’t wait to lose hours and hours of my life to Diablo IV.

Diablo IV is currently set for a June 6 release.

The post ‘Diablo IV’ Open Beta Thoughts – Previewing the World, the Story, and the Franchise’s Evolution appeared first on Bloody Disgusting!.

Infernax sees players take on the role of Duke Alcedor, who returns from a recent crusade to find his home overrun by the forces of darkness. Infernax boasts a Castlevania-inspired Medieval setting that transports players to another era of time using absolutely beautiful 8-bit artwork. Borrowing inspiration from Simon’s Quest, players are forced to go back and forth from place to place and actually learn the layout of Alcedor’s world. While most 8-bit throwbacks that are released nowadays are linear affairs, I love how Infernax allows its players to get involved in its world and locations despite its limited graphical power. A lot of this is thanks to exceptional art and creature design that features an assortment of ghouls and gore that wouldn’t look out of place on a death metal album cover. Bosses in the game are straight up hellish demons inspired by real demonology.

Infernax is not afraid to lean into the gore or satanism and honestly? I’m entirely here for it. In fact, I wish more games would commit so completely to the bit.

One of my favorite aspects of Infernax is the implementation of a morality system that affects the world around you. One early choice in the game presented me with the option of helping a sick villager or putting him out of his misery. In a foolish attempt to play a 100% good run I decided to help him, only for him to turn into a grotesque monstrosity and brutally murder me in a one-on-one fight. Making the alternate choice, I was able to smash his head in with a mace before he transformed; but a villager witnessed me do this and ran away in fright. Choices in Infernax at times feel like a zero sum game but I was always fascinated with the options presented to me and was always curious to what every choice led to. All this in an 8-bit style retro game, which absolutely rocks because most modern games don’t have a morality system as cool as this.

When Alcedor dies in the game (and he will), players will have to load their last save, losing every bit of gold and XP they’ve collected since then. Infernax also offers a restart option that lets you keep some of that gold and XP for players that seem daunted by this proposition, which is great from an accessibility standpoint. Often old-school games have a reputation for being “Nintendo hard” and a lot of this chalks up to bad game design and lack of accessibility options. Infernax keeps all the difficulty of those old games but instead provides players with options in how they want to experience it, which is never a bad thing. I always used the restart option that took away my gold and XP and still walked away from every play session immensely satisfied with what I had accomplished; without feeling like I needed to bash my head against the wall in frustration. Infernax has received a great amount of unlockable characters that range from a Conan inspired barbarian, to Army of Darkness inspired shotgun wielder, and even a character that turns the game into a Contra-style shooter. With all of these options available to me I was eager to jump right back into a new playthrough. It doesn’t do much new but what it does, it does exceptionally well.

Which brings up to Infernax’s newest update titled Deux or Die. In it players are introduced to Cervul the Squire and the new gameplay addition he adds to the experience: couch co-op. That’s right, the entire Infernax can now be played entirely in co-op (or one player controlling both characters by switching off) and let me tell you this absolutely rips. The developers have even gone out of their way to entirely rebalance the game around two characters and things can get pretty intense and hectic. If I had to compare it to anything I would say it reminds me of Castlevania: Harmony of Despair, right down to each character having their own unique arsenal and abilities. I had an absolute blast battling the forces of Hell with a buddy and also found solo character swapping to add a whole new layer of challenge that I recommend to players who know the game inside and out. One last insanely cool bit about the co-op: the Contra-clone mode is also available in two-player mode and straight up feels like we got a brand new Contra game in 2023. It’s a love letter to Konami’s golden age inside and out.

At the end of the day, Infernax is the real deal. While not the most original game on the market, it’s such a refined experience that put a grin on my face the entire time I was playing it. It successfully updates outdated game design in smart ways and is packed to the brim with extras, and Deux or Die now makes this a must play for fans of couch co-op games. In a gaming landscape often overcrowded with retro throwbacks of sometimes dubious quality, Infernax stands apart from the pack by being polished to a bright sheen. Don’t skip this game.

The post ‘Infernax: Deux or Die’ Review – Modern 8-bit Throwback Is Now a Must for Co-Op Players appeared first on Bloody Disgusting!.

Funny thing is, this wasn’t even the first time Silent Hill was considered dead. In 2004, the masterminds behind the original three games known as “Team Silent” got together and decided to take the series into an experimental new direction. Little did they know, it would be the last Silent Hill game from them, marking the end of an era. 

Enter Silent Hill 4: The Room for the PlayStation 2 and original Xbox, a game that started production at the same time as Silent Hill 3. After two games trapping us in a spooky town, the head honchos over at Team Silent decided to throw every preconceived expectation out of the window and get a little bit wild with the franchise. Gone was the titular town, and instead the game would be set in the city of Ashfield; in particular the apartment of main character Henry Townsend, which has been sealed off… with him inside.

Rather than following another character who’s traveling to Silent Hill to uncover some supernatural mystery, Silent Hill 4 centers on Henry trying to understand the circumstances that caused him to be trapped inside his home. It’s a really cool inverse on the formula and allows for unexpected diversions in game play. For example, when Henry is exploring his apartment, it’s done entirely in first-person. It’s only when he enters a hole in the wall that the game jumps to a more traditional third person perspective. This is where Henry begins his descent and explores a hellish nightmare with his neighbor Eileen involving serial killers, sacraments, and allegories of rebirth and purity. I won’t recap it here, but suffice to say in some aspects Silent Hill 4: The Room decided to explore more worldly horror and less wacky cults and sexual repression/guilt.

Silent Hill 4 even branches away when it explores traditional gameplay. The Silent Hill games were notorious for cryptic puzzles that sometimes were real head-scratchers (the puzzles themselves necessitated a difficulty setting), but The Room instead focused heavily on combat. Like it or not, it was the direction survival horror was heading in at the time. Only one year later, Resident Evil 4 would blow the doors wide open to heavy action influence in the genre and Silent Hill 4 ultimately felt held back by its limitations to the genre of yesteryear with fixed camera angles and absolutely janky controls in both first and third person. It’s a fascinating relic of its time.

Adding to the notoriety of this installment was that it was the final game developed by Team Silent, as Konami wanted to let Western studios take a crack at the IP, which would start in 2007 with Silent Hill: Origins, the most by-the-numbers entry in the series. It’s a shame because Silent Hill 4: The Room showed that Team Silent still had plenty of ideas of where the series could go; be it anthology installments like this or mythology installments like Silent Hill 3. There were rumblings that the team were prototyping a fifth main installment of the series but nothing ever quite took off so Konami closed the book on their era of Silent Hill and the team went off into numerous separate directions. We were to never get a Japanese-developed Silent Hill game again.

My personal experience with Silent Hill 4: The Room is a unique one. I was but 11 years old at the time of release and only owned an original Xbox. Which means my only experience with the Silent Hill franchise up until that point was with the rerelease of the second installment, Silent Hill 2: Restless Dreams. Exploring the aisles during my weekly trip to the local Blockbuster Video, I stumbled across Silent Hill 4: The Room in all its terrifying glory. Its cover depicts a screaming face emerging from a door wrapped in chains in a shade of red; one would be mistaken for thinking the game had a nu-metal soundtrack with how early 2000s the whole thing looked. I was enamored. I asked my father to rent it and I binged it that weekend, absolutely fascinated with its disconnect from the rest of the series and the more violent approach to horror. It was the right game at the right time in my blossoming love of the horror genre.

With the news of Silent Hill f being the first mainline installment in well over a decade, with a story penned by Japanese writer Ryukishi07 and a 1960s rural Japan setting, I can’t help but feel a sense of excitement for the series to get back to its roots while hopefully exploring new territory. It gave me reason to reflect and appreciate Silent Hill 4: The Room in greater retrospect and value the ideas it had even more. We didn’t know how good we had it. And at the time, we had no idea it would be the last good installment for nearly 20 years. 

Who else would love to see a Silent Hill 4 remake down the road?

The post ‘Silent Hill 4: The Room’ – Appreciating Team Silent’s Fresh Approach to the Franchise appeared first on Bloody Disgusting!.

So what the hell is Midnight Suns, you ask?

Well, it’s a tactical RPG starring the titular team from Marvel Comics made by the same developers that gave us the fantastic modern X-COM games. Think of them like the team that the Avengers would call when things get too supernatural for them to handle. They deal with demons, the occult, and all sorts of spooky stuff. In the game you’ll recruit various Marvel heroes to the team and send them on missions against the forces of HYDRA, Mephisto (Marvel’s take on Satan), Lilith the Mother of All Demons (and main villain of the base game), and even Dracula himself.

The heroes are made up from various teams and solo acts from all parts of the Marvel universe, including characters from the Midnight Suns, The Avengers, and the X-Men. Once you have heroes at your home base, you pick three and send them on missions where battles and objectives play out in a turn-based fashion with each character’s abilities tied to a card system. It almost plays like a weird hybrid of Magic: The Gathering and Chess. In between missions you build up relationships with these dark heroes using your player character: The Hunter, Child of Lilith, resurrected from death. Eventually you’ll build bonds with more iconic characters like Spider-Man, Ghost Rider, and Magik and you’ll learn more about them and their personalities along the way. Sure this side of the game might be cheesy, but there’s something undeniably enjoyable about stargazing with Blade and Wolverine in between fighting off hordes of vampires and demons.

Where Midnight Suns really excels is in exploring the side of the Marvel Universe we don’t get to see much of. I’m of course talking about the horror side. Sure, there have been select projects recently like Doctor Strange in the Multiverse of Madness and the excellent Werewolf by Night, but never has there been a modern Marvel release that feels so tapped into the spooky stuff. Levels are adorned with pentagrams, demons, and summoners that feel more at a home in a Diablo game rather than a Marvel one. Your home base in the game is even a giant gothic church in Salem, Massachusetts, with wiccan effigies strung about as you talk to Agatha Harkness where she recounts the Salem Witch Trials. If that isn’t enough there are literal battles fought in Limbo that characters refer to as “Hell,” which is where you encounter Mephisto himself. It all feels so familiar yet refreshingly new for a superhero game.

The gameplay loop is an aspect I find absolutely addicting. I love prepping heroes for a mission in our free time and then launching a ruthless assault on our enemies, while looking forward to talking with them after. Despite knowing these characters for years from various comic books and movies, I feel as though I’m getting to know them on a deeper level. It’s also great seeing characters team up that normally wouldn’t; there’s something fascinatingly appealing about Captain America teaming up with Blade or Venom pairing up with Magik for a combo attack. It’s a feeling that only games like Ultimate Alliance deliver but I feel more tied to it here because I’m fostering these relationships in real time and watching them bloom. This combined with the fantastic tactical combat, refined by experiments made in X-COM: Chimera Squad, make Midnight Suns my current gaming addiction. I cannot stress enough how much I’m enjoying the hell out of this game, despite it seemingly not being on the radars of many at this time. 

It’s a damn shame the game isn’t selling well, either. I’m not sure if it was the lackluster marketing, being released in a crowded holiday season or if people are starting to get superhero fatigue, but Marvel’s Midnight Suns is one hell of a game that you should be playing. A modern update of an obscure ’90s team up that taps into the darker side of Marvel, wrapped up in a tactical RPG with relationship sim elements, it’s admittedly a bizarre combination on paper but I can’t help but be engrossed by the sum of its parts. I wish we had more weird experiments like this using the Marvel IP, but it doesn’t seem like that’s going to happen after this and that’s an absolute shame.

With numerous free play weekends and sales for Marvel’s Midnight Suns becoming a regular thing, I urge you to try it out even if you only have a passing interest. Who knows, you may find your next gaming addiction in Marvel’s horror-based experience. I sure did.

Marvel’s Midnight Suns is now available for PlayStation 5, Xbox Series X/S, and PC. Coming soon to Playstation 4, Xbox One, and Nintendo Switch.

The post ‘Marvel’s Midnight Suns’ is a Modern Showcase for Marvel’s Spooky Side – Why You Should Be Playing appeared first on Bloody Disgusting!.

Wildly successful at the time, Bloober team went on to expand Layers of Fear into a successful series with multiple entries and eventually moved on to deliver more horror experiences with Blair Witch and The Medium. With the recent announcement that Bloober team is taking the reins on the Silent Hill 2 remake, the team has decided to go back to their breakout hit to close out a chapter of their history as they prepare to move forward. In a hands-off demonstration and Q&A, we were given a first look into what’s new in the world of Layers of Fear.

My presentation started with a glimpse into the new section that focuses on “The Writer.” Bloober Team says that this all-new storyline will tie together the entire Layers of Fear series including the first game, Inheritance, and Layers of Fear 2. Though I was given little context, the writer seems to have traveled to a secluded lighthouse in hopes of finishing her novel. As she explored the environment I felt a sense of the atmosphere Bloober Team was looking to establish. It felt different from the rest of the Layers of Fear series but also fit right in.

While walking through the lighthouse you can see the gameplay improvements Bloober Team has applied as there are far more interactable objects all created in a good amount of detail from Unreal Engine 5. No story bits were shown in this segment but we got to see a conversation the writer had with her son on the phone as he encouraged her to stay and write her novel. I’m not sure how expansive this new storyline is, but I’m hoping it is enough to pull returning players in; the prospect of it, from what I’ve seen, seems very ambitious.

The next segment we were shown was a portion of the first game entirely rebuilt from the ground up. The developers told me that the game plays out in a non-linear fashion and that environments may look familiar but needed reworking to have wider hallways and environments. I was curious as to why there would need to be such a change but this is where a new gameplay element rears its head. While in its original release back in 2016, Layers of Fear was somewhat of a walking simulator. Players explored the home of a painter and didn’t do much else as the story played out. Now in this new Layers of Fear, the painter will be equipped with a lantern that allows him to discover secrets hidden and the environment and fight off new enemies.

A scene we previewed shows him facing off with a paint-like enemy and using the light from the lantern to purge it from existence. It reminded me a lot of Alan Wake with the light-based combat and it seems like an addition that will round out the gameplay experience. The developers have stated that despite the new addition they hope to remain true to the original game’s experience. They have even gone back and re-assessed every single scare in the original game and gone to great lengths to see if they hold up in modern contexts. No more meme-worthy doll scares here. The developers have also promised even more new level designs in store and all new puzzles, so your knowledge of the original 2016 game will not apply here.

The developers seem keen on remaining faithful to the Layers of Fear experience while applying lessons that they’ve learned from subsequent games. The attention to detail in the new Unreal Engine 5 environments really shines thanks to a complex lighting system implemented as well. But I walked away from the showing with some concerns. Mostly in the aspect of combat being added. How often will we encounter enemies? Are there other enemy types? Will it pull away from the well-known atmospheric dread that the first game is known for? What’s changed in Layers of Fear 2? I’m also curious about a storyline about the Painter’s Wife that we were told about but not shown and how the Writer’s story will bring all 5 storylines together in a cohesive package.

While a lot of this remains to be seen, I can’t help but be curious about what Layers of Fear has to offer for new and returning players. It’s ambitious, and Bloober Team are aiming to have this be the definitive experience. We’ll soon find out just how successful they are.

Layers of Fear will arrive for PC via Steam, PlayStation 5 and the Xbox Series in June.

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So when Capcom announced that a remake of their seminal masterpiece was in production, I was initially hesitant. How do you improve upon perfection? How do you update a game that holds up so well, even to this day? Well. I got my answers and more than I could have ever imagined with a remake that absolutely knocked my socks off.

Right from its opening moments, Resident Evil 4 wants you to know that you are indeed the same Leon S. Kennedy from Resident Evil 2. For players that don’t know, you play as Leon, who’s now a member of the Secret Service. In this particular tale, he’s sent to Spain to rescue the President’s kidnapped daughter by any means necessary. Along the course of his journey he’ll encounter some of the most messed up things you can ever imagine; because this is a Resident Evil game, after all. This remake establishes its world in greater detail that helps it slot into the overarching Resident Evil story even more, and it’s filled with little story touch-ups and flourishes that helped me appreciate the story of the game far more than I ever have before – no easy task.

The overall success of the Resident Evil 4 remake is thanks in no small part to Nick Apostolides’ voice work as Leon, who brings an action-hero heft to his performance while remaining true to his performance in Resident Evil 2. In fact, most of the characters you meet in this remake have received an overhaul for the better. Most notably Ashley Graham, the daughter of the President, who was an annoying glorified escort mission in the original. Here she’s fully fleshed out to a character all her own with far better writing this time around and exceptional voice work by Nicole Thompkins (who also voiced Jill in the Resident Evil 3 remake). Leon and Ashley now make for a dynamic pair that I found myself rooting for even more than the original game.

Leon’s arsenal is expanded and he’s an absolute blast to play as. With the update to controls that modern Resident Evil has seen over the years, Resident Evil 4 plays far more fast paced and brutal than it ever did before. I know that the original game already has a reputation for feeling like an action movie in its gameplay but this remake elevates it to a whole new level of insane. Being able to move while aiming, unlike the originals, adds a new dynamic layer of strategy to encounters and Leon is able to sprint now, making the age-old combo of “stun & melee” a fast and ferocious option. It’s wildly satisfying to stun a single enemy in a crowd in the shin from a distance and sprint up to them and roundhouse all of them, resulting in a cloud of flying bodies.

Leon’s also got some new tricks in his arsenal as he’s now able to stab enemies on the ground with his knife with a quick jab to the neck and he’s even able to parry enemies. As a Dark Souls fan I found myself having loads of fun just experimenting with the parry mechanic, taking the time to learn and memorize enemies’ parry windows to the point I would walk into an encounter and parry most common enemies and unleash a hail of gunfire onto them. Though be warned, if you use the knife too much it will break and you’ll have to find a new one. Take it from someone who played without a knife for a large chunk, you’re going to always want to have a knife on hand for countering enemy grabs.

The trademark Resident Evil power creep is still here and it’s perfected for 2023. Leon is able to customize and upgrade his weapons and pretty soon you’ll go from his tiny trademark pistol to rifles that bring absolute destruction to the poor soul that happens to be on the receiving end of the barrel. All the upgrading plays out at the iconic Merchant’s shop (who I’m very happy is still in the game), where you’ll also be able to sell treasures you find along your journey. It’s here at safe havens where Leon will also be able to swap out his inventory cases that still feature the “Tetris” formatting last seen in Resident Evil 7, and in a new spin, cases can be equipped with charms that provide passive buffs to him to make your vacation to Spain just a bit more enjoyable. Boss fights have also received massive reworkings for the better, as encounters that I found hugely frustrating in the original were an absolute joy to play in this remake. Resident Evil 4’s gameplay components fit together like clockwork and I’ll be surprised if we get another Resident Evil game that plays as good as this one.

The world of Resident Evil 4 is brought to life in immaculate detail in this fresh new upgrade. Using Capcom’s proprietary RE Engine, the environments feature a painstaking amount of detail in a photorealistic art style. It’s cliched to say but this remake looks how you thought the original game looked all the way back in 2005. It also features a more gothic horror art direction that brings a new level of fear to the experience, with an impressive as hell lighting and shadow system that brings environments to life and ups the horror factor overall. Environments also feel bigger and more explorable with all new side content and puzzles rounding out the Resident Evil experience and bringing it more in line with other entries in the series. Performance on PS5 was also exceptional as I never experienced any crashes or framedrops in my time playing the game.

Like a fine vodka that has been filtered numerous times, Resident Evil 4 has been polished to a bright sheen.

I can go on and on about Resident Evil 4 and the smart decisions it makes in updating a legitimate masterpiece for the modern era. It was a remake I never asked for but I am very happy that we got. Capcom has proven time and time again that they understand what makes a great modern Resident Evil game, and their remakes have also proven they know how to update beloved classics in a modern context – which is not an easy thing to do. I can comfortably say that the remake of Resident Evil 4 is not only the best Resident Evil game that Capcom has ever delivered, it’s also personally one of the best games I’ve ever played. Rejoice, Resident Evil fans. Survival Horror has been perfected.

Resident Evil 4 will release on March 24, 2023.

Review code provided by the publisher.

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Yeah, Dead Cells kicked my ass pretty fast when using this approach. The game instead has a great emphasis on speed and dodging. The player character moves insanely fast through the environment and has tools in his arsenal designed to deliver out brutal punishment using three core concepts: Brutality, Tactics, and Survival. Brutality is how the player dishes out damage and is able to be modified using weapons found in the environment. Tactics are the throwable weapons the player can use, and Survival modifies the player’s health and healing properties.

I cannot begin to say how amazing it feels to find a stronger weapon in the environment and absolutely lay waste to enemies at blistering speeds. To hit a door opening into an unsuspecting enemy and then clearing out the room before running off in a speedy fashion; it’s a blast. Borrowing inspiration from Dark Souls, players gather “cells” that can be used for upgrades that are permanent if players survive to a checkpoint. Die on a run and you lose it all, and the layout of the environment changes. I found this loop insanely satisfying in how great it all feels to play with tight controls, fantastic speed, and weapons that feel as if they have a good amount of weight to them. To put it bluntly: the base game of Dead Cells absolutely rocks.

But you’re not here for that, are you? You’re here because in a surprise announcement, developers Motion Twin revealed that an official collaboration with Konami was in the works that would bring the world of Castlevania into the world of Dead Cells. When starting a new run, a path will open up that takes players to a whole new environment inspired by the immortal classic Symphony of the Night. They call it Dead Cells: Return to Castlevania.

Right away I was impressed with the level of care that Motion Twin took in adapting Castlevania to Dead Cells. From the moment you step into the new area you hear the blistering sounds of a techno remix of “Vampire Killer” and have to find a path to open the castle gates while facing enemies pulled straight from the games. It felt like an overwhelming sense of nostalgia washing over me as I navigated Dracula’s ever shifting castle.

The player will also come across characters from the Castlevania universe in their journeys such as Shanoa, Richter, and Alucard, all recreated in the hyper-stylized Dead Cells art style, and their depictions remain true to their original incarnations that fans of the original series are comfortable with. Not only are characters and environments from the series added but the player will also be able to gain access to iconic weapons from the series in the form of blueprints that the player can craft in Shanoa’s shop. All of the Castlevania pieces fit nicely into the Dead Cells format and I’m honestly impressed with how much I love it (unforgiving difficulty and all). There’s even an unlockable “Richter Mode” that allows players to take control of the famous Belmont vampire slayer in classic Castlevania tradition.

Overall, Return to Castlevania is a great addition to the Dead Cells package. Even if you’re unfamiliar with the original series, it’s hard not to admit how cool it is to slash your way through a gothic castle while techno remixes of the original tunes play. Dead Cells is a major gaming blind spot that I’m glad to have cleared off and Return to Castlevania is one hell of an expansion that makes an already appealing game even better. It makes me wish Konami would dust off the franchise and give us a new 2D entry, but for now this will do just fine.

I’ll be playing Dead Cells and all of its expansions for years to come.

Review code provided by the publisher.

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I love going to the theater. I mean, who doesn’t? The chance to see a great horror movie up on the biggest screen possible is one of the simplest pleasures in life. And now there’s a bevy of options to see your movie in such as RealD 3D, Dolby, IMAX, and Laser Projection. Premium Formats, they call them, and I have experienced almost every single format out there.

But one in particular always eluded me for various reasons: 4DX.

What exactly is 4DX?

4DX is a premium format that allows films to be projected with various practical effects like rain, wind, strobe lighting and motion-seats. The goal is to fully immerse the audience in the movie and the effects allow for recreations of various effects seen on screen. For example: a character standing in the rain on screen will cause the water jets installed on the back of every seat to disperse water to recreate the effect (thankfully users have the option of turning off the water), and movie goers will feel every adrenaline-fueled turn in the latest Fast and Furious movie when their seats shift them around back and forth.

Making its debut in South Korea all the way back in 2009, the format has seen a steady rollout over the years but still isn’t widely adopted. As of 2020 there are only about 32 locations in the USA that are 4DX equipped, 5 of which are on the west coast.

But why Scream VI?

You may think from that description above that only the biggest of blockbusters make their way to 4DX. After all, it seems like a lot of work goes into the synchronization of the effects and the film. So an R-rated slasher film is not the first thing that comes to mind when you think of potential prospects for a movie to be exhibited this way. Imagine my surprise when I learned that not only was Scream VI coming to this format but that I also lived minutes away from a theater recently equipped with the 4DX technology!

Horror is no stranger to gimmicks in the theater going experience. Perhaps the most famous example is William Castle and the strange gimmicks he employed for his films. Everything from an inflatable skeleton that would swing around the theater for House on Haunted Hill, to the electric shocks that would hit moviegoers seeing The Tingler. With a rise in more interactive horror experiences such as VR gaming or even walk through fan experiences, I was curious if the advancement of technologies could work in the slasher genre.

So I did what any Scream mega-fan would do and went to a 9:40pm showing on a Wednesday night. For those curious, a 4DX ticket in Southern California currently runs $20.75 (nearly double what I usually pay for my weekly theater trips). I walked into the theater and was greeted by seats divided into fours as if it were a theme park ride, and they were absolutely loaded with electronics. Visible on the seats are water and air jets positioned both in front of and behind viewers. The seats also appear to be on risers and have foot rests with a single rubber tube sticking out the bottom that people call “the tickler,” which activates during certain points. Along the top edges of the theater are huge fans mounted to the wall that are the source of wind effects.

I wasn’t sure what to expect until a 4DX trailer started and the seats began to rise; I was thrown around back and forth, with flashing strobe lights and all. Things were getting interesting.

Okay enough about the tech! Tell us how Scream VI is in 4DX!

Scream VI is wildly entertaining in 4DX! I find Scream VI to be a larger movie than previous installments with more set pieces and thrills than the series usually has. For example, right off the bat from the gory opening sequence with Samara Weaving’s Laura character being brutally murdered, the seat shakes around violently with every stabbing motion. When gore appears on screen the water jets shoot out a burst of water that mimics blood splatter, And when characters use firearms, strobe lights go off to imitate the muzzle flash. Hell the “tickler” even gets some use when Sam uses a taser on a douchebag partygoer.

But perhaps the best uses of the format are in the infamous “ladder” sequence in which Devyn Nekoda’s Anika is thrown violently to her death from atop Sam and Tara’s apartment. The seats mimicked the violent up and down shaking of the ladder and the wind fans were in full effect, presenting it in a way that had me convinced I was standing outside in the cold air. It was wildly immersive and less distracting than I thought it would be. The subway scene is also a standout with constant vibrations as the train traveled along the tracks.

The subway scene happened to also use the strobe lights to good effect, employing them to match the lighting in the scene and adding to the tension of it all. Although probably not the best way to view it for the first time, Scream VI in 4DX is a blast. Especially for returning fans eager for a repeat viewing.

Final Thoughts?

Horror is a versatile genre. In a gimmicky theatrical setting that at times feels like a theme park ride, a wild slasher movie like Scream VI can be enjoyable as hell. I’ll always be happy to revisit this film but the memory of experiencing it in 4DX and being fully immersed in the moment will always linger with me. I just wish William Castle was around to see it.

You can read Meagan Navarro’s Scream VI review here.

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… and then it never came out in the United States. Mask of the Lunar Eclipse was a game that eluded even the most devout of Fatal Frame fans due to a lack of publisher in the region. To make the situation even more frustrating, the game’s follow-up Maiden of Black Water received a western release. Unless you had a fan translation and copy/file of the game there was never any way you could play Mask of the Lunar Eclipse in any official capacity. Until now.

Hot on the heels of the remaster of Maiden of Black Water, Koei Tecmo has FINALLY revived Fatal Frame: Mask of the Lunar Eclipse, and for better or worse it remains a fascinating relic of its time. This new remaster also brings some much welcome improvements.

Mask of the Lunar Eclipse follows the plight of five girls inflicted with amnesia after they were captured and held captive on a mysterious island for unknown reasons. After their rescue, none of them can recall what happened while they were there and are each drawn back to the island (for various reasons that I won’t spoil here), where they discover the “camera obscura.” Using this tool they’re able to defend themselves from various ghosts and specters.

It’s fascinating playing an older survival horror game from multiple perspectives because unlike something like the Resident Evil series, Mask of the Lunar Eclipse’s storytelling seems very calculated in its approach with shifting perspectives, each one providing a different piece to the puzzle. Though broken up into chapters, I was engaged throughout and almost viewed it as if I was experiencing a television series. Taking control of a different protagonist in every chapter, however, is unfortunately where the game begins to show its age. Believe me when I say this is a survival horror game from a bygone era. Not that the control options are bad, per se, but everything has a janky feel to it.

For example, it felt tiring to hold down the L2 trigger to “run,” which isn’t much faster than walking. Mask of the Lunar Eclipse also employed motion controls in its original Wii release that are replicated here. For example, moving the controller using its motion sensor will allow the girls to point their flashlights in various directions. I never found this comfortable to navigate but thankfully there’s an option to map flashlight movement to the right stick. What I never did get comfortable with was the Camera Obscura.

Pressing a single button will put you into first person mode where you are able to take photos but from here you need to lock on with L2 and shoot with R2. It sounds simple but is clunky in its application, especially when one is surrounded by multiple ghosts. Most frustrating of all is the moment you take damage, you get pulled out of camera mode. Perhaps a skill issue on my part, but I found myself getting pulled out of camera mode and unintentionally sprinting instead of entering the camera mode as intended.

As far as remasters go, I was very impressed with the graphical update the game was given. Gone are the days of low poly character models and now we’re treated to more detailed character models that I feel will age far better. The varied environments also receive a massive facelift that now allows players to see far more detail; completing tasks never feels like an impossible challenge. If you want to explore unique Japanese horror settings, Mask of the Lunar Eclipse has you covered. I did not experience any performance issues or bugs with my copy of the game, leading me to believe this remaster and translation was handled with care.

Koei Tecmo finally brings a long lost survival horror classic stateside in an official capacity and I couldn’t be happier. Mask of the Lunar Eclipse is easily one of the stronger entries in the Fatal Frame series thanks to the writing from series newcomer Suda51 and a good amount of variety in its engaging story and setting. On the flip side, at times it feels a bit too rooted in the past because of janky controls. It remains to be seen if this release leads to more entries in the Fatal Frame franchise or even remasters of the original three games, but if nothing comes of it I’m glad to finally see Mask of the Lunar Eclipse get an official release for preservation’s sake.

Review code provided by publisher.

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