1 hours ago
We've got a scene we want to show you. This is our Clive Barker's Hellraiser: Revival. Spoiler: It's the bigge
We've got a scene we want to show you.
This is our Clive Barker's Hellraiser: Revival.
Spoiler: It's the biggest surprise of the year, a love letter to a splatter punk on the edge of a censorship frame, and the best cult movie-themed game since Alien: Isolation.
At first glance, there's nothing new, the industry knows at least three instances of people taking a famous VHS horror movie and turning it into a cheap clone of Dead By Daylight with asymmetrical trailers without any highlights.
But with Clive Barker's Hellraiser: Revival, it's a very different story. We've got Clive Barker personally involved in the development, Pinhead speaking as Doug Bradley (which wasn't very long ago), and Saber Interactive with partners.
But first, let's talk about the plot and aesthetics. The local story revolves around a conservative couple of former biker gang members and their sweetheart named Sunny, who not only love the substance, but are also generally fascinated by BDSM practices using needles, curses, handcuffs and... Lemarshane's boxes, which are revealed during the seizure process, by summoning the Senobites led by Pinhead into this world.
Frankly, the plot isn't a strong one, but he'll make a good turn a few times, and at the end, he'll even offer to make a choice, but the rest of the local story is just a justification for the carnage that the hero makes on his way to saving the one he loves.
And there's a lot of slaughter here. We're not just opposed by the cenobics themselves, but by the defeated cultists of varying degrees of inadequacy, who help them (including die) the unworthy people that Labyrinth rejected and turned into brainwashed monsters of varying degrees of disgust.
Saber Interactive and Boss Team Games have done their homework on understanding the genre of classic survival horror, and the pace of action and situations are constantly changing, from intense fighting to exploring locations, solving puzzles and racing around the maze, where, by the way, all the guns are picked up.
Subjectively speaking, it's the scare game that doesn't get much out of a couple of scenes. But here's what's exactly worked: the aesthetics of the same splatterpunk on the edge. The game has been showing from the beginning the wounds, dismemberment, torture, liters of blood and complete dehumanization of anyone who gets into the cult, including at will.
The lack of a release photo mode is a big flaw, and what the game shows is that you want to take beautiful screenshots every second, and it's been a long time since the industry's seen such a violent game, and they're ready to write it again and again.
But here's the nuance... from the second half, the game starts to give up a lot, and its budget outside of art design, along with the game design problems, starts to blink openly. First of all, the unconditional downsides: the bosses are disgusting to everyone, except for the final, where there's at least some mechanics outside, throwing all their arsenal into me.
With the balance of power also under-spinning, the loading of weapons is sometimes not obvious, and you have to spend the extra in-game money, bitterly regretting the time spent in the end.
We'll take the steels right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right
So what do we get out of this? And the bottom line is that, despite the nuances, Clive Barker's Hellraiser: Revival is a worthy representative of both the film game niche and the survival horror genre, who's not afraid to show what they love about the original work of Clive Barker. Yeah, she wouldn't have 12 hours to walk, but she'd have 6-7 hours of concentrated mechanics and not to blow up, yeah, she'd like a bigger budget and fewer mistakes. But it's still a good game that I'm not ashamed to recommend to fans of the franchise, and to anyone who wants to see that the gaming industry is a story that includes liter of blood, dismembered limbs, and maternal goats.
Our verdict: 3 feet out of 4
@meownauts #game
This is our Clive Barker's Hellraiser: Revival.
Spoiler: It's the biggest surprise of the year, a love letter to a splatter punk on the edge of a censorship frame, and the best cult movie-themed game since Alien: Isolation.
At first glance, there's nothing new, the industry knows at least three instances of people taking a famous VHS horror movie and turning it into a cheap clone of Dead By Daylight with asymmetrical trailers without any highlights.
But with Clive Barker's Hellraiser: Revival, it's a very different story. We've got Clive Barker personally involved in the development, Pinhead speaking as Doug Bradley (which wasn't very long ago), and Saber Interactive with partners.
But first, let's talk about the plot and aesthetics. The local story revolves around a conservative couple of former biker gang members and their sweetheart named Sunny, who not only love the substance, but are also generally fascinated by BDSM practices using needles, curses, handcuffs and... Lemarshane's boxes, which are revealed during the seizure process, by summoning the Senobites led by Pinhead into this world.
Frankly, the plot isn't a strong one, but he'll make a good turn a few times, and at the end, he'll even offer to make a choice, but the rest of the local story is just a justification for the carnage that the hero makes on his way to saving the one he loves.
And there's a lot of slaughter here. We're not just opposed by the cenobics themselves, but by the defeated cultists of varying degrees of inadequacy, who help them (including die) the unworthy people that Labyrinth rejected and turned into brainwashed monsters of varying degrees of disgust.
Saber Interactive and Boss Team Games have done their homework on understanding the genre of classic survival horror, and the pace of action and situations are constantly changing, from intense fighting to exploring locations, solving puzzles and racing around the maze, where, by the way, all the guns are picked up.
Subjectively speaking, it's the scare game that doesn't get much out of a couple of scenes. But here's what's exactly worked: the aesthetics of the same splatterpunk on the edge. The game has been showing from the beginning the wounds, dismemberment, torture, liters of blood and complete dehumanization of anyone who gets into the cult, including at will.
The lack of a release photo mode is a big flaw, and what the game shows is that you want to take beautiful screenshots every second, and it's been a long time since the industry's seen such a violent game, and they're ready to write it again and again.
But here's the nuance... from the second half, the game starts to give up a lot, and its budget outside of art design, along with the game design problems, starts to blink openly. First of all, the unconditional downsides: the bosses are disgusting to everyone, except for the final, where there's at least some mechanics outside, throwing all their arsenal into me.
With the balance of power also under-spinning, the loading of weapons is sometimes not obvious, and you have to spend the extra in-game money, bitterly regretting the time spent in the end.
We'll take the steels right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right here, right
So what do we get out of this? And the bottom line is that, despite the nuances, Clive Barker's Hellraiser: Revival is a worthy representative of both the film game niche and the survival horror genre, who's not afraid to show what they love about the original work of Clive Barker. Yeah, she wouldn't have 12 hours to walk, but she'd have 6-7 hours of concentrated mechanics and not to blow up, yeah, she'd like a bigger budget and fewer mistakes. But it's still a good game that I'm not ashamed to recommend to fans of the franchise, and to anyone who wants to see that the gaming industry is a story that includes liter of blood, dismembered limbs, and maternal goats.
Our verdict: 3 feet out of 4
@meownauts #game
