Skip to main content

Void Bastards review – gloriously chaotic head-trip into outer space

PC; Blue Manchu/Humble Bundle
Graphic novels and classic anime provide the inspiration for this frenzied and spectacularly smart survival shooter

In space, no one can hear you make catastrophic decisions – and in Void Bastards, you will make plenty. This is a first-person shooter where shooting is often a last resort. Mostly, you’re weighing up the possibilities: can you make it to that alluring loot before your oxygen runs out? Do you have enough food to see you through the next two scavenging missions? What should you take with you: a Clusterfrak grenade launcher or a cute Kittybot to distract foes? One lesson you learn very quickly is that the universe is cruel. And also hilarious.

What hits you immediately is the cel-shaded visual style and twisted humour. The grungy spaceship interiors and bizarre enemies all call to mind the 80s comic-book pomp of 2000AD, while the weird items and your plummy-voiced AI advisor owe a great debt to The Hitchhiker’s Guide to the Galaxy. You’ve broken down in the middle of the Sargasso nebula and you need to board a series of derelict spacecraft to steal equipment and repair your starship. Except every craft you visit is populated by a range of hostile crew members, from the swarming “juves” who swear at you as they blast at you with lasers, to the hovering “screws”, highly armoured prison guards who hunt you like the Terminator and absolutely will not stop until you’re splattered all over the walls of the medical theatre.

Continue reading...

from Culture | The Guardian http://bit.ly/2JK28LA

Comments

Popular posts from this blog

Pop's coolest choreographer Marion Motin: 'I want to touch your soul'

The woman who got Christine and the Queens and Dua Lipa moving talks about her switch to Rambert and partying on tour with Madonna ‘I’m a lazy girl,” says Marion Motin, laughing at herself. The French choreographer is sitting back in her chair, smiling, dressed in a baggy tracksuit and mismatched earrings. She is laid-back, sure. But lazy? I don’t believe her. This is a woman who created all the choreography for Christine and the Queens’ Chaleur Humaine tour in just 10 days. Who got through the notoriously gruelling audition process to dance on tour with Madonna. Who founded her own all-female hip-hop crew, Swaggers, 10 years ago, to show that women can win dance battles too (and they did). Continue reading... from Culture | The Guardian http://bit.ly/2JbolC5

Knives Out review – Daniel Craig goes Columbo in Cluedo whodunnit

Craig grills an all-star lineup of suspects when a wealthy novelist is found dead in Rian Johnson’s sharp, country-house murder mystery R ian Johnson unsheathes an entertainingly nasty, if insubstantial detective mystery with his new film, Knives Out. Back in 2005, his debut movie Brick (a high-school thriller) paid tribute to the hardboiled noir genre. Now he does the same thing for cosy crime, although there is nothing that cosy about it. Knives Out has a country house full of frowning suspects, deadpan servants and smirking ne’er-do-wells and an amusing performance from Daniel Craig as Benoît Blanc, the brilliant amateur sleuth from Louisiana who annoys the hell out of one and all by smiling enigmatically, occasionally plinking a jarring high note on the piano during the drawing-room interrogation and pronouncing in his southern burr: “Ah suh-spect far-wuhl play!” Continue reading... from Culture | The Guardian https://ift.tt/2L0NKO4

A little rain must fall: the tragic secret of a musical movie masterpiece

The Umbrellas of Cherbourg, a life-enhancing 60s sensation, is about to enrapture a new generation of filmgoers Voguish director Damien Chazelle’s pick for “the greatest movie ever made” isn’t his masterwork La La Land, or even Citizen Kane. It’s The Umbrellas of Cherbourg. Chazelle claims to have watched this New Wave classic more than 200 times, and regards his own not-quite-Oscar-winning 2016 musical as a crypto-remake of Jacques Demy ’s entirely sung-through phenomenon. It wasn’t love at first sight. Initially, Demy’s film, with its strange operatic style, “threw me for a loop,” says Chazelle. On its debut in 1964, it provoked a similarly perplexed response. Yet it went on to win the Palme d’Or and five Oscar nominations; it pulled in more than a million filmgoers in France alone, and became an enduring obsession for those, like Chazelle, who have fallen under its spell. Continue reading... from Culture | The Guardian https://ift.tt/37GLogV