Overclocked On Caffeine v.1.1 2009-07-13 03:07:00

I’ve always been disdainful at best of Dreamworks’ CGI output, but if this is in any way, shape, or form true, their movies just dropped from ‘shallow’ to ‘outright soulless’.

Depressingly, it also explains a hell of a lot.

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Overclocked On Caffeine v.1.1 2009-07-11 01:06:00

Akira Psychoball


Little known fact: I love pinball. Seriously, love it to bits. While other kids were dreaming of full-size arcade cabinets in their bedrooms, I would’ve offered up any number of bodyparts for a decent pinball cab. Of all the arcade games out there, pinball arguably requires the most skill: crane games and the like are hideously rigged, and you can brute force your way through virtually every arcade game available – SNK fighting games infamously aside – if you have the credits available. No chance of doing that with pinball, either you’ve got the moves, or you don’t, simple as that.

Slightly more well-known is my love of all things Akira. The manga is one of the best I’ve ever read, and over 20 years on, the film still manages to outclass virtually everything since in terms of animation and design. Condensing a 2000+ page manga into a two hour movie may not have been the best idea, but for my money, it’s still one of the most visually stunning films ever. On the games front, however, it’s been poorly serviced, with some of the worst titles ever to appear on any format bearing its name. In order to be classified as the Best Akira Game Ever, it would simply have to have the sole virtue of not being atrocious.

Akira Psychoball is an attempt to retell the epic and complex story of the film through the medium of pinball. Yes, you read that right.

Released in time to cash in on the Remastered edition of the film in 2002, the game is liberally peppered with clips from the movie. While they do look pretty, they’re pretty much devoid of any context, so good luck trying to follow the plot. Though if you’re playing a pinball game for the story, you have no idea how wrong you’re doing it, and you’re probably having more fun making up the story yourself so, y’know, go wild!

First thing you’ll probably notice is that yes, this is actually a pinball game. Somehow, it’s actually a surprise starting it up and seeing all the ramps and bumpers, but no, this really is pinball and we’re actually going through with this. You’re given a couple of main options to choose from: Story Mode, where you work your way through the tables, clearing targets and goals as you go; Stage Select, where you pick a table and play as you want; and a help mode, which gives you info on what each of the targets on the various boards do, as well as background info on the characters and the vague plot of the film. Thinking about it, that’s pretty superfluous, since anyone with any actual interest in this game probably knows who the angsty kid in the cape is and why he’s turning into monstrous silly putty, but, again, we’ll ignore that and carry on.

So, to the game’s Story Mode, a description skirting with the Trade Descriptions Act at best. Each board consists of two parts, a top half and a bottom half, and there are three of each, themed off various set-pieces from the movie. As you hit targets and complete mini-games, you’ll progress to the next table. Here’s where it gets tricky though: rather than moving tables wholesale, the top part of the table will remain, while the bottom half will be ‘switched in’. Once you’ve gone through all three bottom halves, the top half will change and you’ll have to do the same thing again until you’ve run through all three. Once you’ve done that, congratulation! You win at pinball!

The pinballing itself is pretty solid, if mostly unremarkable. Once you get the timing right, it’s possible to make any and all shots with reasonable regularity. Thing is, on a console, you kinda expect a little more. Consider games like the Crush series – Alien Crush, Devil Crush and Jaki Crush, all popular mainstays of the 16-bit era. These took the viewpoint that on a console, you were never beholden to such boring concepts as, gravity, physics or even reality, and spiced the gameplay up with moving targets, boards that changed physically depending on what you hit, and little monsters that would wander around, giving you points and extra bonuses if you hit them. Hell, they even included bosses if you were any good at the game! Here, there’s a few extra cutaway bonus stages, where you have to take down flying platforms, crack open the Akira capsule or destroy SOL, but they’re still sadly limited. As for board invasions, I saw a teddy bear wander across the screen all of twice, and in the final stages, you have to dodge blasts from the SOL laser satellite which do approximately bugger all to you, seeing as they tend to fire at the other end of the map from you. And as for actual proper bosses, other than SOL, there are none. How hard would it’ve been to include a final fight against Tetsuo’s monstrous form at the very end of the film, with you trying to ricochet shots off of him?

The other main mode is the Versus mode: two players with two sets of flippers sit side by side with their boards joined in the upper middle. They try to fire balls over to the other person and score when a ball drops through their flippers. First to whatever arbitrary number wins. Really, there’s not much more to say than that, the game’s simplistic as it gets. No doubt it’d be a hell of a lot of fun with friends while drunk, but as I was annoyingly sober and alone while playing it, it gets a resounding ‘meh’ from me.

More worthy of note is the music: while they’ve managed to get the rights to the characters and scenes from the movie, someone somewhere forgot to license the soundtrack. So if you’re hoping to listen to all the iconic themes from the movie, tough noogies, original music for you! Actually, that’s unfair, the new music is actually pretty good on the whole. Surprisingly so, some of it actually being borderline excellent. There’s a few musical nods to the original, so subtle you’d barely even notice, but on the whole, probably the best thing on offer here.

The options are fairly limited: there’s no option to switch to the original Japanese voices, surprisingly, and as the game’s based on the Remastered edition, you’re stuck with Johnny Yong Bosch screaming TETSUOOOOO at the top of his lungs, rather than Cam Clarke. The game also lacks a sound test, which is a disappointment considering the excellent music on offer. There’s also absolutely nothing in the way of unlockables: what you see when you start up the game is all you’re ever going to get, so no concept art, no way to view the clips, not even a chance to get a look at the artwork on each table. An extra challenge mode – a few dozen tasks of the ‘score X points in Y minutes, make Z number of shots, etc.’ variety – would’ve added to the replay value of the game substantially, but as it is, once you’ve finished the main mode, there’s practically nothing else for you to do, and for just about everyone out there, that’s the point where it gets buried beneath other, more interesting games.

Psychoball is a remarkably solid pinball game that, as a physical machine, would probably be one of the best around. As a game on a console, however, it’s not that great, and as an overall package, lacking. Don’t get me wrong, it’s a fun game: the gameplay is never anything short of smooth, and the tables are nicely realised. Just that there are things that make a physical pinball table fun, and there are things that make a pinball game fun, and the two are drastically different. If you like collecting Akira-related stuff… well, you’ve probably already got a copy. If you’re looking for something different from the norm, give it a shot. Just don’t go in expecting more than pinball.

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Overclocked On Caffeine v.1.1 2009-06-26 16:54:00

If there’s a single film out there that doesn’t deserve all of the hate it gets, it’s Alien 3. The film’s reputation precedes it to a highly unfair degree: ask anyone about it and there’s a It’s the poster child for executive meddling, with tales of lengthy reshoots, gaps in production (the entire film ground to a halt for over three months at one point) and more dogging it.

Following the events of the last film, Ripley awakes to find herself on a hellish all-male prison planet, the only survivor following the crash of her escape vessel. She believes at first that she’s lost everything, however it quickly becomes apparent that something else survived the crash.

Okay, lets get the obvious targets out the way: yes, it is complete bullshit that Hicks and Newt die in the first five minutes – off-camera, no less. This simple decision is what garners much of the hatred for the film, and rightly so. But, in the context of the film, it actually works. The idea is that the alien has taken everything from her in one way or another – her crewmates in the first, her daughter in the second, and in the third, her replacement family, Hicks, Newt and Bishop. She basically says as much in the film. This is supposed to be a tragedy, a complete 180 from battle-hardened Ripley, breaking in to alien-infested hives with a pulse rifle and flamethrower.

The cast all look the same? Yes, but that’s intentional. They’re on a prison planet. A highly religious one at that. That alone should clue you in to the themes of rebirth and sacrifice alone. But even beyond that, the idea is that the shaved heads are supposed to de-humanise the characters, further emphasising Ripley’s crusade against the xenomorphs. By the end, her single-minded extermination of the species isn’t too far removed from the Queen’s hatred for her in the last movie. Whether it’s intentional or not is up for debate, but it’s a nice counterpoint. As for the cast being utterly unlikeable, again, that’s kind of the point. Nice people don’t get sent to maximum security hellworlds (usually), and while they may not be as likeable, it’s perfectly arguable they were able to handle the Alien a whole lot better than the marines in the last film: nice bunch, but the Keystone Kops could’ve put up a better fight.

The film itself is a mess? Ah, now that’s a more difficult one. Practically from Day One, David Fincher seemed to be director in name only. He was inundated with executive orders, demands and missives. At one point, he was due to direct one of the key scenes of the film, only to be told he was not, under any circumstances, to film it in any way. Upon hearing this, he grabbed Weaver and a hand-held camera and shot it before anyone could stop him. That’s the kind of backstage fuckery he was encountering on a daily basis. By the end of shooting, he was so disgusted by the whole thing, he asked to have his name removed from the production, and has refused to comment on it ever since. All things considered, it’s a miracle the movie has any coherence at all.

The Assembly Print (as opposed to a Director’s Cut, due to the director basically telling Fox to fuck off) adds a lot back in to the finished product. Rather than the Alien being birthed from a dog, it comes, as originally intended, from an ox, making the creature’s comparative lack of intelligence far more understandable, oxen being possessed of considerably less animal cunning than a dog. Of the other added scenes, the two most important ones are right at the end: in the original cut, Ripley is told she could have the Queen implanted in herself removed, giving her back the life she always wanted. There’s a short pause before she continues on her course of action. In the AP, this pause is much, much longer. she actually seems like considering it, before continuing, making the moment much more ambiguous: the Last Temptation of Ripley. Pretty apt considering how she falls at the end. The other is at the very end, with Ripley’s closing report from the end of the original film being played over scenes of the prison being shut down. It adds a nice bookend to the trilogy, and adds a sense of finality and melancholy to the end. It’s a shame that the one change that didn’t need to be made was the removal of the moment of the Queen’s birth, as Ripley’s triumphant smile in the original was arguably one of the better moments of the film.

When you consider what the film could have been with the Assembly Print, and all that went wrong with it, it’s hard to be so critical of the original. If anything, it’s difficult to not be more sympathetic towards it. Alien 3 was, in part, trashed because it was a bastardised version of what it could’ve been, but also because it wasn’t a sequel to Aliens. People were expecting more gung-ho marines vs. xenomorphs, and when the film failed to deliver, they hated it. It was an attempt to return to the pacing and tension of the original, but events conspired against it. It’s not a bad film, and the Assembly Cut goes a long way to restoring much of what could, and most likely should have been. Even for all that went wrong with it, it’s still worth a revaluation. After all, it could easily have been worse.

Next Time: It Gets Worse

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Overclocked On Caffeine v.1.1 2009-06-23 16:53:00

If the worth of a film can be measured in how much it’s managed to invade the public consciousness, Aliens would rank in the Top Three. If you’ve played virtually any game in the last 20 years, there’s a better then likely chance you’ve encountered at least one line or allusion to the film. It’s easily one of the most quotable films of all time. You all know it, you’ve all seen it, and if you hate it, it’s probably because you liked Alien better. So, in lieu of an actual review, since there’s no way I could write anything you don’t already know by heart about the film, 15 random facts about the first three movies that you (probably) never knew.

  • The original head for the Alien in the first film utilised a real human skull in it’s creation
  • When Dan O’Bannon was asked why the crew don’t just shoot the alien on sight, he added the acidic blood, accidentally creating one of the most infamous features of the creature’s biology
  • The original script for Alien was… well… pretty bad. Also, kinda gay.
  • The lasers used in the egg chamber scene were actually on loan from The Who, who were testing them out next door
  • The original ending of Alien called for Ripley to die at the end, decapitated by the alien after sending her distress signal. It was vetoed as it would’ve been way too dark an ending
  • Aliens was one of the first films to be released in a Director’s Cut/extended edition. This was done partly to woo Weaver back to do a third film as she was unhappy with the original cut
  • There was, at one point, going to be a Saturday morning cartoon based on the second film known as Operation: Aliens. It didn’t get much further than toys, promotional material and an apparent opening title sequence, Why anyone thought this was a good idea is still, as yet, unknown. The toys, on the other hand, were suitably awesome
  • In a surprising turn of events, the 15-minute countdown at the end of Aliens does actually last a full 15 minutes
  • Both Lance Henriksen and Bill Paxton have the dubious honour of being killed by an Alien, a Predator and a Terminator
  • On a related note, Henriksen discussed the scene where he adds Hudson’s hand to the knife trick scene with everyone but Hudson’s actor, Bill Paxton. Much of his confusion and fear was actually real
  • The smooth motion of the power loaders was achieved by having a bodybuilder moving around inside the power loader shell in tandem with Weaver
  • The iconic pulse rifles are based around a Thomson machine gun – better known as a tommy gun – and a SPAS12 shotgun
  • Michael Biehn (Hicks) was so upset at the plot of the third movie, he refused to allow the producers to use his likeness for two scenes. Eventually, they paid him for the use of his image in one scene. He payout was allegedly more than he received for his stint in Aliens
  • Originally, when the ‘Bambi’ alien crawls out for the first time, they used a whippet covered in foam ‘alien bits’ to try and simulate a more organic alien/dog hybrid. It worked about as well as you can imagine
  • David Fincher was so angry with the interference he received during the filming of Alien 3, when Fox offered to let him recut the movie however he wished with absolutely no executive meddling for the Alien Quadrilogy DVD boxset, he outright refused. He was the only person asked to take part in the set who refused to do so

Next Time: The One Everyone Hates

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Overclocked On Caffeine v.1.1 2009-06-23 15:22:00

I call it Rule#72:

Anything set to Don’t Stop Me Now automatically becomes 346% awesomer. And, in certain cases, 72% funnier, and 112% wronger.

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Out of Order

Welcome to The Town

Ever woken up in the middle of the night to find you’ve been kidnapped… and so’s your bedroom? Ever had to fend for yourself in the face of strangely hypnotic music, alien doctors, talking computers a-plenty and half-finished bathrooms? Ever found something unpleasant in a burger?

If so, Out Of Order should play like any other day in your life.

Otherwise, it’s an experience not to be missed.

If out of chaos comes order, what comes Out Of Order?

Download and play it yourself

Screenshot 0!

Out of Order is a freeware graphical adventure game from adventure developers. Check it out!


Overclocked On Caffeine v.1.1 2009-06-17 17:16:00

No, I don’t know why I thought this was a good idea either

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Overclocked On Caffeine v.1.1 2009-06-17 15:48:00


13 hours 32 minutes

It was the marines who’d started it. In their zeal to cleanse the city of infection, they didn’t care who they opened fire on. Here, on the outskirts of the infected zone, most of the people fleeing were still healthy, not that that mattered to the military. So they were surprised when someone not only fought back, but did so by throwing at wrecked taxi at them. Before they could get their bearings, I charged up the side of a nearby building, got to about 50 feet up, then gracefully backflipped off the side. I aimed right for the chest of the one in the middle, hit him squarely, killing him and causing me to slide back on his corpse a good 20 feet. Before the other two could react, I picked up a nearby garbage can, forced all my strength into my arms, bulking them up considerably, and hurled it with the force of a tank shell. The effect was, to say the least, explosive. The third I picked up by the throat, threw him up into the air and dropkicked him into the side of the nearby gym. He exploded on impact. The whole thing was over in less than five seconds. Not bad for a guy who woke up on a slab with only a name – Mercer, Alex J – and nothing else less than a week ago.

Allow me to describe the plot of Prototype in one sentence: Alex Mercer Saves The World From An Alex Mercer Fuckup. Our ‘hero’ Alex Mercer, wakes up in the mortuary with three main problems: first off, he should be dead. Very dead. Second, he has no memory. Third, he quickly discovers he’s capable of running at high speed, far faster than any human should be able to run, can lift cars with no effort at all, able to run horizontally up the sides of buildings and, oh yeah, can devour and absorb people wholesale, gaining access to their memories. Escaping from the labs of the Gentek corporation, Mercer starts off on a relatively simple quest to recover his memory.

Anyone wanna guess how long it takes to go south? I’ll give you a hint: it happens within the first 5 missions of the game.

We start off with the mandatory tutorial mission, because no one who buys games these days is capable of reading manuals, apparently. But wait: what’s this? We’re starting out on day 18? The sky’s blood red? The army’s fully mobilised on the streets and firing at anything and everything that moves, and there’s tanks and genetic atrocities and awesome music and oh dear lord, did my arm just transform into a giant fucking scythe blade? No, wait, back the fun bus up a sec – did I just elbow drop a fucking TANK?! If you’re not saying ‘holy shit, did I just do that?! That was fucking awesome!’ every 30 seconds, you’re playing it wrong. Radical know exactly what the strengths of this game are, and they show you exactly what’s waiting for you later the second you start up the game for the first time: complete fucking anarchy. It spells the game’s intent right from the off: this ain’t your daddy’s free-roaming sandbox game. This isn’t even an action game with fancy moves. This is how the end of the world looks at ground zero, and you’re the one thing standing between it and the rest of humanity. This is Armageddon in hi-def and you’ve got frontline tickets. And, as an opening gambit, dear Christ it works. The tutorial (you almost forget it’s a tutorial stage, you’re having that much fun) only lasts about ten or 15 minutes tops, but for sheer impact, it beats the hell out of any game I’ve ever played.

How do they follow that up? By dialling it back down to Day One and showing how things get so bad over the next two and a half weeks. It’s a complete mood whiplash, but by that point, you either hate it or you’re hooked with a pathological need to find out how you get from a quiet and ordered New York to open warfare on the streets of Times Square.

I had invented a new game. I called it ‘Climb A Bigger Building’. See, what you do, is you pick a building. Any building will do. And you run up the side of it. Then you look around and find a bigger building. Then you glide over to that one from the top of this one, and run to the top of that. Then you look around, find a bigger building and repeat the process. If you ever find yourself with superpowers, you should give it a try. This time, I was standing on top of the lightning rod at the top of the Empire State Building, looking around. I could see for miles in every direction. I was taking in the sights when I remembered the SUV I was carrying over my head. You tend to forget about these things after a while, y’know? I looked about and saw a tank driving past a street or two away. That gave me an idea. I hurled the SUV as hard as I could, then jumped after it, following the trajectory I’d thrown it in.

The SUV bounced off the heavy armour of the tank. Me, less so.

As the tank exploded behind me, I sprinted down the street, easily outpacing even the fastest cars around me as rockets and gunfire exploded at my heels. I vaulted over a couple of buildings, ducked into an ally, shifted my appearance to that of the Blackwatch soldier I’d consumed earlier and walked out, no one any the wiser.

Sometimes, random destruction was almost fun.

Manhattan Island is your playpen, and you are free to enjoy it however you wish. Want to spend your time taking in the sights, collecting the 250 TACOs (totally arbitrary collectible objects)? Have at it. Want to see how far you can fly or run? There’s the financial district over there, pick a building and jump from the rooftops. Want to wreak a bloody trail of havoc from Harlam to Central Park? Grab a taxi, grab a pedestrian and combine the two til one or the other explodes. Want to hijack a tank, take out every military base and viral hive on the map and make a daring escape in an attack helicopter, all while disguising yourself as Aunt Martha from Delaware? Try to keep the maniacal laughter to a minimum, people are starting to stare. You can’t enter buildings, unfortunately, so introducing the interior of the Met to the remains of a thermobaric tank isn’t an option, alas, but pretty much every other famous landmark in the city short of Lady Liberty herself is yours to see, climb, jump off and shoot at. Navigating it is simplicity itself once you get a grip of the controls, which is easily done within a few missions. Tearing through Soho on foot gives a feeling of speed greater than anything the GTA series has been able to accomplish in a car. Bombing down a road, jumping from car to car, like any number of action movie heroes gave me a feeling of sheer joy I hadn’t seen in ages. It’s a simple thing, to entertain those superhero fantasies of rooftop running and the like. To see someone take those fantasies and present them to you and say ‘go wild’ is another thing entirely.

The beast in front of me was called a Hunter. One of Elizabeth Greene’s deadliest, twelve feet of muscle and murderous intent. It let out a roar to shake the skull. Even the Infected were backing off from this one, and I’d seen them charge heavily armed marines bodily. I sized up my options. Running wouldn’t do me much good, these things were as agile as I was. I could pop my claws, but those were better suited to fast flurries of damage. My whip arm was good at a distance or with crowds, but here it would be next to useless. Right now, that left me with one option. I forced the biomass that made up my body into my arms, bulking them up considerably as I smiled grimly. Time to go toe-to-toe with the son of a bitch.

At the heart of the game is combat, and Prototype is no slouch in this department. Over the course of the game, you’ll unlock over a hundred forms, skills, moves and abilities, from extra health, to faster running speed, to increased jump height, to dozens of combat moves. You do this with experience – Evolution Points in this game – earned from killing enemies, completing missions or beating bonus challenges. New upgrades are made available periodically, usually at the end of every block of stages, usually with a fairly hefty pricetag attached. You don’t have to go grinding EP for them, since end-of-mission bonuses are pretty generous, but considering how creative some of them are – one word: Bodysurfing – you’ll find yourself wanting to just to see how you can mutilate your enemies this time. Combat, like the rest of the game, is frantic and fast-paced, and you’ll often find yourself running like a lunatic just to catch your breath and acquire a health refill from any nearby enemies, consuming being an instant kill for all humanoid foes, and also boosting your lifebar. Boss fights are similarly hectic, despite everyone on the internet seeming to think that the rules have changed just because it’s a boss. Of the three fights, the second, an encounter with a colossal monstrosity known as ‘Mother’ stands out – rather than being in an enclosed area, all of Times Square is your battleground, and you’ll need every last inch of the surrounding area to survive. The only thing really missing is that she’s sadly stationary. The sight of a beast like that chasing you around the cityscape is something that has to be in the inevitable Prototype 2.

And finally, we come to the story. The tale, as its presented, is admittedly flimsy, little more than a compass that points you in the direction of your next victim. The real meat lies in the Web of Intrigue, 131 targets you have to track down and consume to gain their memories, and the heart of the story. It’s weird that the game should be upfront about everything else, but make you work for the detail. The story missions themselves are surprisingly varied, and even those missions we all hate are made awesome within the context of the game: enforced stealth missions? Sneak into an army base, eat everyone, you won’t blow your cover unless you actively attack anyone, no matter what you do (and that includes running vertically up walls). Escort missions? We do it with tanks around here, motherfucker! Protect missions? Armour up like the Guyver, pop your sword arm and watch the organs fly! If there was an underwater stage, you can bet they’d even find a way to make that a thing of wonder.

Prototype is, without a doubt, the most fun I’ve had with a game since Devil May Cry. I swear the thing was catered specifically to my tastes. There’s very little in the game I’d change – perhaps a little mercy invincibility while the military rectally violating your lifebar with missiles would be nice – but lots I’d add. The feeling of the army and the Infected escalating to deal with the growing threat represented by yourself is good, but it doesn’t go far enough. The most powerful units in the game, the thermobaric tanks are only seen a handful of times, and on one of those occasions, you’re piloting one! More variation would be a welcome sight. A reason to care about the general non-infected populace would be good to see as well. I’m not saying we have to implement a badly-designed morality system, just give us more to do with them beyond eating them, slicing them or picking them up and hucking them at things. Make them more than health packs on legs. And maybe a branching storyline, one path helping the military, the other spreading the infection, with different storylines and upgrades available on each (oh dear, I’ve accidentally described inFamous, whoops!). Other than that, give us more of everything and I’ll happily see you next year for Prototype 2.

There’s monsters in Central Park. Something evil and obscene lurking under the streets of Times Square. The skies have turned a sickening orange, the colour of oblivion. The screams of the dying mix with the cries of the carrion birds, the only real victors of the viral outbreak. These are the end times. And I’m the only one who can keep things from getting worse. I know the men responsible for this. They’d better hope whatever they have between them and me is enough, because I’m just getting started.

*Staticnote: since the release of this game, Activision have announced that they will not be supporting the PC version of the game. A bad move considering that, for a lot of people, the game has a lot of flaws and bugs, chief amongst those being a lack of proper graphical options; the game failing to register any attached pads or controllers at startup, including official 360 pads; and a game-breaking issue with the sound, which not only ruins all cutscenes and voices, but also cripples the performance of the game, rendering it all but unplayable. By contrast, the PS3 version had a minor problem with optional installs that was identified and patched within 3 days. The lack of effort shown by Activision has been, in a word, atrocious, with all of the fixes being discovered by the community at the technical support forums, rather than any official channels. While there are hacks and workarounds for most of these, I cannot, in good faith or judgement, recommend the PC version of this game to anyone. The game itself is wonderful, easily the single best game I’ve played this year, but for the love of God, please, don’t bother with the PC port.

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Overclocked On Caffeine v.1.1 2009-06-13 17:20:00

My thoughts on the fact that the PC version has a horrible bug that completely wrecks the sound and gameplay:

And my thoughts on the media res intro stage:

If the game has even a tenth of the atmosphere shown in that intro (you can’t tell from the 10 or so seconds of gameplay at the end, but trust me, it’s fucking awesome) when we finally get around to it, I’ll be happy as all hell. I’ve been waiting for a game with an atmosphere like this since I played Abomination: The Nemesis Project (obscure realtime XCOM-lite game on the PC – shallow, but fun as hell, and with a similar vibe to it).

tl;dr This game, it was made for me drr… drr…

Now, if only they could get rid of those glitches that’ve been plaguing everyone…

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Duke Nukem Forever delayed

News has come that the producers of the always upcoming-justwaitalittle longer- Duke Nukem Forever, 3d realms have officially given up the ghost and are closing down. Their publisher Take 2 has decided to cut off their funds after showing admirable patience for a record breaking 12 years of development hell. They still retain copyrights and trademarks so there still is a vague, small chance that there will be another Duke Nukem game in the future. But not from 3d realms, it seems.

Duke Nukem 3D