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

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

Tracey Emin decorates Regent's Park and a celebration of Islamic creativity – the week in art

Emin and others survey the state of sculpture, Glenn Brown takes his decadent imagination to Newcastle and artists offer northern exposure – all in your weekly dispatch Frieze Sculpture Park Tracey Emin, Barry Flanagan and John Baldessari are among the artists decorating Regent’s Park with a free survey of the state of sculpture. • Regent’s Park, London , 4 July until 7 October. Continue reading... from Culture | The Guardian https://ift.tt/2IDCpPV

Elena Ferrante: ‘Solaris is not Tarkovsky’s best film, but it made the greatest impression on me’

Solaris is astonishing because the book that inspired it doesn’t seem to contain Tarkovsky’s film A film that I watch at least once a year is Andrei Tarkovsky’s Solaris . I’ve loved all of Tarkovsky’s works, even the most difficult. Some I’ve seen in the cinema, others on television. I saw Andrei Rublev at the cinema, and on the big screen it was astonishing, its black-and-white extraordinary: I’ll probably never see it again in a cinema, but I hope that young people will have the opportunity. I also saw Solaris on the big screen – not Tarkovsky’s best film, but the one that made the greatest impression on me. I remember that it was advertised as the Soviet answer to 2001: A Space Odyssey – a completely misleading slogan. To see in it a cinematic contest between the US and the USSR was as silly as it was misleading. Kubrick’s marvellous film, with its imaginative force, would certainly win. But it doesn’t have even a hint of the desperation, of the sense of loss, that dominates Sol...