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[Review] ‘Jupiter Hell’ Makes Ripping and Tearing a Tactical Turn-Based Affair

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When I first started playing PC games, DOOM II and X-COM were among the first things I got into, shaping my gaming tastes for years after. Now more than two decades on, I’m only just playing a game that combines aspects of the two? ChaosForge’s Jupiter Hell hopes to be better late than never as it finally emerges from Early Access.

Jupiter Hell takes on that tried and true method of trading on gaming nostalgia with modern conveniences. In this case, it’s a top-down turn-based shooter akin to X-COM, but set up both structurally and tonally, like the mazy corridor shooter of choice in the 90s; DOOM. oh, and it’s also a roguelike to boot. 

 It’s presented like a 90s game in so many respects, from the metal soundtrack, the admirably stubborn refusal to allow mouse control, to the old-school menu and UI text format. The key giveaway that this is a game from 2021 and not 1997 is that its relatively simple visuals have an atmosphere and style that would be tough to replicate in that era.

The brilliant tagline for Jupiter Hell reads ‘Like Chess. With Shotguns’ and rarely has such a brief description painted such an accurate picture. The unapologetic riff on DOOM’s setup (which is completely understandable as the game began life as a successor to DOOM: The Roguelike) sees the player put into the boots of a space marine fighting their way through demonic forces on Ma…Jupiter’s Moons. There are undead marines, monsters, and as you’d expect from this formula, there’s a lot of them…often at once. The key difference is that things are a little less frantic in Jupiter Hell thanks to the turn-based nature of its combat. It sounds like an odd combination, but ChaosForge has ensured that with practice, the seemingly awkward turn-based nature can become a flexible transition from fast-paced movement with split-second decision making to slowing things down when necessary, all still within the confines of a turn-based format.

It’s clear that this is where ChaosForge has focused its attention most. The smart gelling of a shooter with turn-based mechanics ends up feeling almost natural when it flows right, and that’s a huge credit to the developer. Mapping everything to the keyboard works really well. Neat touches such as being able to throw a dropped grenade instead of just picking it up get you out of plenty of jams, and adds a touch of flair to combat I didn’t expect. While tricky to remember at first, reloading as a turn feeds into the strategic flow of things quite nicely.

 It actually meant I found myself swapping between weapons depending on how many turns it would conceivably take for a particular fracas. Using cover helps to open up your options and give you a breather, and is entrenched in the turn-based mechanics of positioning your marine up against a wall (indicated by a green bar) and seeing what differences that made to your chances (displayed in the top right corner is hit chance percentage and the like). As I mentioned, it takes a little getting used to, even for someone who’s savvy to the inner workings of games like X-COM, but it’s a pretty successful partnership of styles overall.

It does appear to need a little more fine-tuning to ensure that switch in pace isn’t always jarring, however. At times, button presses simply didn’t register as something in the game clearly tried to catch up. Small freezes can mess up your strategy, and that’s aggravating when you’re up against a wall of hell and one wrong move can send your run spiraling into calamity and death. If you’re going to get gibbed by space demons, it’s a lot more palatable when it’s your own fault.

While I’ve focused on the turn-based aspect of the game a lot so far, the real hook for Jupiter Hell is that it’s a roguelike. The essence may well be DOOM’s corridor shooting, but there’s also the need to be cautious and pick the right kind of build for your playstyle. Want to be a shotgun-toting bringer of death? Sure, Jupiter Hell lets you embrace that, even if it does go out of its way to push you into trying new things whether you want to or not by only providing certain ammo on certain floors. 

What the roguelike template also brings is variety and uncertainty. The thrill of understanding and then conquering the unknown is part of the fun. The story of any given run goes through some variant on the rollercoaster ride of coming back from near-death situations thanks to a timely explosive barrel in the right place, and then getting caught with your pants down and your ego out because you thought your firepower was going to be too much for the demons to handle. 

Yes, you can eventually get a good idea of what to expect, where to go, and what to avoid, but Jupiter Hell keeps things surprising in the smaller moments where your choices can flip the fracas in a different way. No matter how much you might know better about going into an area that’s a death machine, the temptation to do it anyway for potential rewards can easily override common sense.

Jupiter Hell will be a refreshing spin on a classic for some, and the best of a bad situation for those mourning the loss of DOOM: The Roguelike. Some technical grumbles aside, its straightforward, no-nonsense approach to turn-based roguelike shoot n’ loot works well, and provides a compelling game to either dip into for an hour here and there, or lose a few days to.

Jupiter Hell review code for PC provided by the publisher.

Jupiter Hell is out now on Steam PC.

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‘Penny Lane is Dead’ Review: A Bloody Ozploitation Throwback Fueled by Punk Rock Energy [Fantasia 2026]

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A cruel birthday prank leads to Ozploitation levels of violence and bloodshed in Penny Lane is Dead, the raucous horror-comedy feature debut by writer-director Mia’Kate Russell. A vicious ’80s throwback with a modern sapphic lens becomes the energetic canvas for Russell to make the leap from makeup artist to director, which means an infectiously unhinged dedication to practical effects. It’s that stellar effects work, along with a winsome punk rock heroine, that carries this bloody horror-comedy far even when its villains descend into grating cartoon territory.

Everything is rosy for popular girl Penny Lane (Bailey Spalding) in the summer of 1986. She’s celebrating her final days of high school with friends Toni (Tahlee Faraday) and Amy (Alexandra Jensen) at a remote family cabin before setting off to the college of her dreams. Penny is also riding the highs of her new secret romantic relationship with Toni; not even the naive and tender-hearted Amy is aware. Her good mood prompts her to also invite her family’s black sheep: cousin Kat (Sophia Wright-Mendelsohn, daughter of actor Ben Mendelsohn). 

Though the trio braces themselves for Kat’s bad mood, she instead comes with cupcakes and a smile. It’s all a ruse; Kat gleefully sets about making Toni and Amy uncomfortable as Penny falls unconscious to her spiked treat. When Toni ejects her for the party foul, Kat then turns to criminal boyfriend Angus (Ben O’Toole) to crash the party. It transforms a night of intended revelry into a harrowing fight to survive.

Russell fully embraces B-movie, Ozploitation chaos, putting her characters through the absolute wringer. Punk rock energy and free-flowing drugs for party girl Kat set off simmering tension that roars to a boil with an inciting sexual assault. From there, Russell unleashes a no-holds-barred torrent of violence that delivers no shortage of arterial spray and wince-inducing prosthetic work. It’s not just the practical effects that are cheerworthy here, but Faraday’s resolute performance as Penny’s protector that forces her into fight mode. Penny Lane is Dead is prone to forcing its characters into making dumb decisions for the sake of plot momentum, but it at least imbues Toni with the adaptable street smarts that make her a rootworthy protagonist. 

Penny Lane is Dead also excels at making you loathe its detestable villains. Wright-Mendelsohn gives excellent crazy eye; there’s a sadistic, manic edge to Kat that makes her instantly unsettling and unpredictable. She doesn’t bat a (crazy) eye as her much older lover, Angus, and his unsavory henchmen Rodowsky (Fletcher Humphrys) and Merrick (Steve Le Marquand), set about hunting Toni and Amy. But by the final act, Wright-Mendelsohn’s unhinged portrayal of the young psycho stretches thin with nowhere left to go. The one-note villainess descends into cartoon mustache-twirling that an unsatisfying conclusion fails to overcome.

Not helping is the clashing tone; Penny Lane is Dead wants to be a fun romp despite broaching bleak territory. The film’s baddies do their best to channel the ’80s with larger-than-life character choices; O’Toole and Wright-Mendelsohn in particular really latched onto the enjoyment their characters derive from inflicting skin-crawling sexual violence. It’s here where Russell’s examination of genre norms grows confusing, especially as it assigns all responsibility to Kat only for the horrors inflicted upon female bodies. And it really doles out brutal punishment upon Penny, Toni, and Amy.

As a lean, mean horror siege, Penny Lane is Dead holds your attention and effectively pulls you into Toni’s bid to meet dawn with her lives and friendships intact. It’s visceral, propulsive, and a strong debut in terms of style and energy. But Russell’s explorations never venture very deep, and that punk rock energy fizzles out by the film’s end, leaving you split on whether this rape-revenge tale offers enough catharsis at the end of its zany, brutal ride.

Penny Lane is Dead made its world premiere at the 2026 Fantasia International Film Festival and releases on Shudder on August 28.

2.5 out of 5 skulls

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