Another Fisherman’s Tale received a new trailer today, showcasing its core gameplay mechanics on Quest, PC VR and PSVR 2.
Announced by Innerspace and Vertigo Games last month, Another Fisherman’s Tale is a direct sequel to 2019’s A Fisherman’s Tale. Following a previous glimpse at its new VR mechanics, this latest gameplay trailer showcases how the detachable limb system works. Between swapping your hand for a crab’s claw, stealing someone else’s hand for a biometric scanner and using an old fashioned pirate hook for grappling, your own body will become part of the puzzle. You can watch the trailer in full below:
We love the original game in our A Fisherman’s Tale review, calling it a “perfect storm of gameplay, immersion and narrative.” We believed it ended too quickly after just 2 hours, though this upcoming sequel thankfully promises a longer 5-6 hour campaign. Continuing the story of Bob the Fisherman, Another Fisherman’s Tale sees you playing as Nina, daughter of the original game’s protagonist that begins investigating her father’s past. Here’s the official description:
Another Fisherman’s Tale continues the story of Bob the Fisherman, crafting a magical and moving narrative about the meaning we create in life by building and rebuilding our authentic selves. Developed from the ground-up to maximize the capabilities of modern VR tech, Another Fisherman’s Tale introduces a set of all-new core mechanics: this time, the player’s own body is the primary puzzle to be solved, creating unconventional gameplay based on dismantling and rebuilding their in-game form.
Ghost Signal: A Stellaris Game brings the hit Paradox series to VR through an action roguelite spin-off. Available now on Quest 2, here’s our full review.
The latest title from developers Fast Travel Games, Ghost Signal is a new VR spin-off from Paradox Interactive’s grand strategy game Stellaris. Despite both titles sharing the same universe, familiarity with Stellaris isn’t required, and I found Ghost Signal perfectly accessible for series newcomers. Commanding a spaceship called the Aurora, you’re tasked with investigating the ancient and eponymous Ghost Signal. What follows is entirely different from its grand strategy predecessor and pursuing an original premise was a sensible call by Fast Travel Games.
Each level takes place inside a diorama-style environment from a third-person perspective. Enemies usually have two health bars for shields (blue) and the hull (red), requiring you to swap between Aurora’s three primary weapons on the back of your dominant hands. Lasers are effective against shields, blasters deal better hull damage, and both automatically recharge. Missiles tear through both but ammo refills are sparse, so use them wisely. If the Aurora takes damage once its shields deplete, this can’t usually be fixed until you visit the Tinkerers, merchants who often appear before boss battles.
Developer: Fast Travel Games & Windswept Interactive
Price: $19.99
Each session of Ghost Signal will see you begin a run through a path of levels. Because each playthrough is procedurally generated, two runs will always differ despite sharing similarities. There are three major boss fights and between each you can choose between multiple paths to advance. Along the way, you’ll earn EXP and ‘scraps’, the local currency dropped by destroyed enemy ships.
Low-risk routes with standard fights might seem sensible, but riskier options like elite battles provide components that improve Aurora’s capabilities. Decoy Drones add new distractions for enemies, for example, while Freeze Rays decrease a target’s movement speed when hit by lasers. Each component is upgradeable for 200 scraps.
There’s also the gamble of creature events, which can be hostile or friendly, alongside other events like choosing sides in a battle. One event type sees you investigating planets, which will award better components if you keep exploring. However, going further also risks obtaining defects with negative consequences, such as dropped scraps disappearing after three seconds. Other events can also inflict these defects upon you, and only Tinkerers can remove them.
All of these elements create a nice risk vs. reward mentality in Ghost Signal, which helps each run feel fresh. Encounters vary considerably and there’s good variety between enemies. Some will try directly ramming your ship in a head-on collision to deal significant damage, whereas larger battleships often release smaller units. While new enemies appear during the later stages of a run, it’s hard not to notice them using similar tactics.
Unfortunately, there’s no in-game suspend function to let you stop mid-run and return. This wouldn’t need to be a full save feature that allows you to “save scum” your way to victory, but a system akin to games like Hades or Returnal, which allow temporary saves that are deleted immediately upon use. You can get around this by putting your headset into sleep mode and returning later, but you’ll need to be careful with the headset’s battery life.
Overall, there’s plenty to consider but Ghost Signal is always manageable. It’s highly polished, streamlined and easy to understand, which is helped by a slick UI and some of the best visuals I’ve encountered on Quest 2. What initially felt challenging soon became natural and it wasn’t long before I became invested, feeling encouraged to keep going. Reaching the end feels incredibly satisfying, amplified by a tough final fight. I averaged around 35-40 minutes per successful run, though your mileage may vary depending on your chosen paths.
Death takes you back to square one with no components or scraps. Only EXP carries over, used for purchasing permanent Aurora upgrades like improved health and weapons, alongside a few cosmetic skins. Securing victory awards a key for accessing some intriguing lore, and the story advances upon completing further runs. Like most roguelites, Ghost Signal’s journey doesn’t end at the finish line, as your first victory also unlocks a series of gameplay modifiers. Reminiscent of Hades’ Pacts of Punishment, this lets you boost individual aspects of the difficulty, such as increased enemy shields, in exchange for greater rewards like more EXP. It’s an excellent option for anyone seeking a challenge.
Ghost Signal: A Stellaris Game Review – Comfort
Ghost Signal is designed for seated gameplay and uses a third-person perspective, significantly minimizing nausea risk. You can select your dominant hand, adjust the controller vibration strength, or apply a vignette when rotating the camera. Ship movement can be swapped between moving or angling your hand to set a direction; otherwise, Ghost Signal doesn’t require many of VR’s more traditional comfort options.
There’s more to do beyond the main campaign. If you fancy putting your skills to the test, the ‘Daily Journey’ mode equips every player with a pre-determined set of components and a defined map. You can still choose which route to take but everyone has the same options, awarding points for hitting criteria like completing the run or taking on elite battles. Your score is then uploaded to online leaderboards, and while traditional multiplayer mode would not work in Ghost Signal, this brings an enjoyable competitive element to the game.
If you’re after something different, Ghost Signal also includes hand tracking support. Turning your hands palm-up lets you access menus, dragging a closed fist allows you to move around your environment, open-palm aiming enables you to scan, and pinch gestures are used for shooting. It’s a nice alternative that can be seamlessly swapped, though I’d recommend sticking with controllers because hand tracking can become fiddly in more frantic battles.
Ghost Signal: A Stellaris Game Review – Final Verdict
Ghost Signal: A Stellaris Game is one of the most enjoyable VR roguelites I’ve ever played. Rather than attempt the unenviable task of recreating Stellaris for Quest 2, this successful spin-off shines by forging ahead with its own ideas, offering an entertaining premise packed with strong replayability and a refined presentation. Minor issues aside, I immensely enjoyed my time exploring this universe, and Fast Travel Games are onto another winner. I can see myself coming back to Ghost Signal for a long time.
UploadVR focuses on a label system for reviews, rather than a numeric score. Our reviews fall into one of four categories: Essential, Recommended, Avoid and reviews that we leave unlabeled. You can read more about our review guidelines here.
C-Smash VRS arrives on June 23, and you can jump in now thanks to a free PlayStation VR2 demo.
Developed by RapidEyeMovers and Wolf & Wood, C-Smash VRS completely reimagines Cosmic Smash, Sega’s obscure Dreamcast and arcade game from 2001. Combining Squash and Breakout with a retro-futuristic presentation, this previously announced demo includes a tutorial, solo training mode and 1v1 online multiplayer. Like every PS5 title, online play requires a PlayStation Plus subscription, and you can watch the new gameplay trailer below:
“The demo is a small glimpse at our game, which will have an epic Journey mode, a sweat and joy inducing Infinity mode, and a variety of Co-Op and Versus modes,” say the developers in a jointly authored PlayStation Blog post. “We also have more features mapped for the full title, including a 3D audio soundscape and fully using adaptive triggers.”
We enjoyed the demo during our C-Smash VRS preview last month. Believing it “could fill a crucial multiplayer gap” on PSVR 2, we praised its visual design and competitive gameplay, stating: “It’s a simple arrangement that feels easy to jump into, backed up by a retro-futuristic soundtrack and I quickly got into the rhythm… understanding the fundamentals didn’t take long, and the vibrant blue and orange visuals against this grey space station contrasts well.” You can check out our full hands-on and interview with Jörg Tittel to learn more.
C-Smash VRS arrives on June 23 for PSVR 2 for $26.99, and the free demo is available now.
The Walking Dead: Saints & Sinners – Chapter 2: Retribution is now available on PlayStation VR2 and PC VR.
Saints & Sinners – Chapter 2 launched last December for Quest 2, featuring some pretty glaring bugs and issues that plagued the initial release. However, two weeks later developers Skydance Interactive patched the game to address those major bugs. In our review, which was published post-patch, we noted that the most severe and game-breaking bugs had seemingly been resolved, but some smaller pop-in issues still remained.
Three months later, the game is available on PC VR and PSVR 2. Players now also have the ability to transfer Chapter 1 save data from Meta, PC and PlayStation platforms to a copy of Chapter 2 on Meta, PC and PlayStation (Pico support for this feature is “arriving later this year”). Skydance also says that a day one patch for this version of the game includes improved environmental lighting, improved NPC animations and rebalanced armored enemies.
Skydance indicated that Retribution features platform-specific visual upgrades on PSVR 2. Exact details of those upgrades weren’t provided, but you can check out some footage in the PSVR 2 and PC VR launch trailer embedded above. On Quest 2, the game looks acceptable with lots of room for improvement – here’s hoping the power of the PS5 lets Skydance push the visual fidelity up on PSVR 2 then.
The PS5 version of Saints & Sinners – Chapter 1 is also now available on PSVR 2, bringing the acclaimed original game to Sony’s latest headset. Those who own the ‘Tourist Edition’ of the original on PS4 will receive the PS5 version for free, while those with the standard edition on PS4 can upgrade for $10. For those who are completely new to the franchise, Chapter 1 and Chapter 2 are also available in a bundle for PSVR 2.
We’re looking forward to checking out Chapter 2 on PSVR 2 this week – fingers crossed this release runs smoother than the Quest version did last December.
Meta will continue using the Oculus name as part of its third-party VR games publishing program, now officially titled Oculus Publishing, with 150 games in active development.
Announced during GDC 2023, Oculus Publishing provides a new name for Meta’s existing efforts to work with developers on everything from conceptualization and funding to promotion of their projects. According to Meta, the company assisted with funding games like Among Us VR, Bonelab and Blade & Sorcery: Nomad, and Meta claims there’s “another 150 titles in active development today”.
“Over $1.5 billion has been spent on games and apps in the Meta Quest Store, with 40 titles grossing more than $10 million in revenue, and the number of titles making $20 million has doubled year over year,” according to Meta. You can read more in the official blog post.
It’s been nearly 18 months since Meta rebranded itself from Facebook and reduced the Oculus brand it acquired in 2014 to Meta’s Oculus Studios, which saw Oculus Quest 2 renamed Meta Quest 2 mid-lifecycle. At the time, Meta’s then-incoming CTO Andrew “Boz” Bosworth claimed they “want to make it clear that Quest is a Meta product,” offering reassurances that “the original Oculus vision remains deeply embedded in how Meta will continue to drive mass adoption for VR today.”
Meta never completely ditched the Oculus name — evidenced by its first-party development division Oculus Studios — but the new branding suggests the name may live on for quite some time. Following its protracted acquisition of Within (Supernatural), Oculus Studios now has an assortment of developers working on first-party content to bring to future headsets, including Beat Games (Beat Saber) and Armature Studio (Resident Evil 4 VR).
The Humble Store VR sale is now live, discounting nearly 100 PC VR games.
Joining the ongoing Steam Spring Sale 2023, the Humble Store VR sale doesn’t include nearly as many PC VR games, but there’s still good discounts. That ranges from more recent hits like Bonelab at $31.99 (20% off) and Red Matter 2 at $22.49 (25% off), to other acclaimed games like Unplugged (60% off) and Pistol Whip (30% off). Otherwise, this mostly includes older games like VTOL VR (30% off) and I Expect You To Die (36% off), with indies like Bean Stalker, Time Lock and Blind hitting 90% off.
For anyone looking to buy more PC VR games, comparing these offers against the Steam Spring Sale is advised as discounts differ between them. While some games like Sprint Vector have discount parity, others like Sniper Elite VR, Espire 1: VR Operative and After The Fall are cheaper directly through Steam. Conversely, The Exorcist: Legion VR, Zero Caliber VR and Into The Radius have better discounts through Humble and can be redeemed on Steam.
The Humble Store VR sale lasts until March 24, ending at 10am PT.
Pixel Ripped 1978 hopes to recreate the golden age of video games through VR, launching this summer on PC VR, Quest 2 and PSVR 2.
Developed by ARVORE and published by Atari, Pixel Ripped 1978 marks the third installment in this retro-themed adventure series and strikes a different tone from its predecessors, Pixel Ripped 1989 and Pixel Ripped 1995. Playing as Dot, a video game designer working for Atari at its headquarters in Sunnyvale, you will travel between different classic Atari games like Yars’ Revenge and Crystal Castles to debug them and stop “Cyblin Lord’s diabolically demented plans.” You can read the full description below:
In Pixel Ripped 1978, players will experience the magic and wonder of the blossoming video game industry during the golden age of home entertainment. Through the eyes of the game’s protagonist, Dot, players will travel between dimensions as they play games within games; a multi-layered adventure full of retro classics, unreleased gems, and undiscovered easter eggs.
“It ushers in something totally new for Atari… we’re confident that Pixel Ripped 1978 will be appreciated by the fans of Pixel Ripped and introduce the franchise to the broader Atari community,” says Atari CEO Wade Rosen in a prepared statement.
“We have always paid homage to our favorite games from the past in this series,” said ARVORE CEO Ricardo Justus, “but now in Pixel Ripped 1978, thanks to our partnership with Atari, we can actually reference the fantastic games and consoles from that era.”
Polyarc, the developers behind the Moss franchise, announced a new in-development competitive multiplayer VR game today, sharing some artwork and announcing a playtest weekend for next month.
The game’s title remains unconfirmed and there’s not a whole lot of specific details, however the artwork shared by Polyarc indicates it will continue the studio’s strong visual style established in Moss: Book I & II. The characters also look to be drawn from the same universe as Moss, with the second piece of art (embedded below) almost feeling reminiscent of a Smash Bros-esque fighting game.
The untitled game will mark Polyarc’s first foray into competitive multiplayer in VR. This places them in the same bucket as other veteran VR studios, such as Schell Games and Owlchemy Labs, who have are now confident enough in the number of VR users to justify exploring online multiplayer projects. Polyarc co-founder and CEO Tam Armstrong touched on this in a prepared statement:
“We are happy to see that the audience for VR continues to grow, now counting in the tens of millions of players, with more user-friendly and accessible headsets being released every year. As a game development studio that aspires to create games for everyone, we want to find ways to reach more of the audience within VR and even create space for new folks to join us there. With that in mind, the greater number of players gives us the opportunity to try ideas we have for multiplayer gameplay that can offer more to competitive players.”
Armstrong also gave some small hints at the game’s direction, stating that VR “offers interesting consideration for multiplayer” such as “the ability to read the other player’s focus and intention as they move their head and hands.”
The Last Worker brings a narrative adventure to Quest, PSVR 2 and PC VR on March 30, and we spoke with Wolf & Wood founder Ryan Bousfield to learn more.
Oiffy and Wolf & Wood’s dystopian adventure sees you playing Kurt (Ólafur Darri Ólafsson), the last human factory worker at mega-corporation Jüngle, led by its ruthless rainbow-haired CEO. Joined by his robot companion Stew (Jason Isaacs), you’re tasked with helping dismantle Kurt’s employer from within to end rising automation. The cast is rounded out by David Hewlett, Zelda Williams, Clare-Hope Ashitey and Tommie Earl Jenkins. I recently attended The Last Worker’s preview event and went hands-on with the PSVR 2 version.
Thanks to a fault with Skew’s programming, your journey begins with an erroneous first-day tutorial, despite Kurt clearly being a seasoned veteran. Once you’ve cleared this, narrative segments are broken up by Kurt’s day-to-day factory life, you’re tasked with ensuring packages are correctly processed, delivering as many packages as possible within the time limit through his hoverpod. That involves finding them across imposing warehouses, grabbing them with a gravity gun-style ‘JüngleGun’, and assessing whether they’re fine or shipping or need recycling. Every package details its size and weight, the latter being assessed once placed onto your pod. If the information doesn’t match the packaging labels or it seems damaged, send it to recycling.
Warehouse work isn’t the most exciting premise for a video game but The Last Worker makes this monotonous surprisingly enjoyable, incentivizing you to do better through a ranking system. If you fail, you’re fired and even if you pass, your boss can’t resist providing “encouraging” feedback, which leans well into the game’s strong satirical humor. Unlocking that gold PlayStation trophy for top marks on my third try was particularly satisfying. The opening chapter does a great job illustrating Kurt’s situation, while the handpainted art style adds character to these depressing halls. I’m intrigued to see how writer/director Jörg Tittel handles this story and it didn’t take long before I was invested.
I didn’t get a chance to try the stealth sections but I left the preview feeling positive after finishing chapter 1. Following a lengthy hands-on session, I sat down with creative director Ryan Bousfield to learn more:
UploadVR: First off, thank you for talking with me. To start at the beginning, how did development and gameplay come together for The Last Worker?
Bousfield: So, Jörg Tittel had the idea way before meeting Wolf & Wood. It’s something that we were looking to get made and we did some tests, working with Mick McMahon (Judge Dredd, 2000AD) on character ideas. It’s something that he had in the background for many years. I was put in contact with [Jörg Tittel] through a friend who said, “We’ve been looking at making this game but something’s come up, we don’t have the capacity.”
Because Wolf & Wood have a background in narrative, he said “would you be interested in talking to him and just seeing what you think?” So, I chatted to Jörg; we sorted the pitch for The Last Worker and created an outline idea of this near-future dystopia that’s also colorful, bright and weird. The idea of having these robots flying around this giant facility with you as the last human in that set up.
It sounded interesting and weird, something leftfield. That’s what we like making at Wolf & Wood. We’ve done horrors with Hotel R’n’R, smashing up hotel rooms for the devil. None of it’s just shooting and killing things; it’s always been something like scaring people. We’ve always leaned more towards narrative. From there, we got into some really nice ideas, I thought “let’s try and get a publisher on board” and, a year later, we connected with Wired Productions.
I think everybody involved is taking a chance on it, it’s quite an unusual pitch. But at heart, it’s a narrative game where we weave together different types of gameplay as you’re working through it. We were trying to move gameplay along, so you can keep players on their toes. None of it is massively taxing, stealth areas have a very quick turnaround on checkpoints. So, even if you fail the set up, you’re not dead; you get fired, and there’s responses from Josef Jüngle, the CEO.
UploadVR: I’ve seen that first-hand while playing. I scored an F [during a warehouse mission], got fired, and on my second attempt, I scored a B. He then told me “you could B better.”
Bousfield: It’s that sort of light, almost adventure game-esque humor. We’re aiming for that nice pacing with everything that keeps you moving, you always feel a sense of progression. As we push the character, we push the player into more dicey situations where you get a sense of danger. We’ve been calling it stealth-lite, where you’re not looking and mapping out your route in minute detail. You can get an idea of the situation, then you can fly in, try a path and if something turns around, you can reverse and get out of the way.
UploadVR: Even in the stealth sections, are you still in the vehicle?
Bousfield: Yeah, and we’ve got full 6 degrees of freedom. In VR, you can obviously take yourself out of the space and pot around a bit. That gives us some interesting situations for stealth scenarios as well, there’s not many games where you’re in flying pods. It’s a new, unique challenge to this. We can’t just go to the rulebook of flying stealth.
UploadVR: It’s definitely not what you’d normally think of, hiding behind the boxes with the pod. Or like Solid Snake hiding in the box.
Bousfield: Considering it’s a game where you’re in a warehouse full of boxes, we don’t actually do that. There were definitely ideas about some stages but, yeah. We have flatter areas where you’re moving around avoiding boxes in a more traditional pattern… Each one is like a little vignette of a segment rather than a big open world.
UploadVR: You’ve also been developing C-Smash VRS alongside this, how has it been managing two projects of this scale side by side?
Bousfield: We just had to really work at it, we all pulled together and managed our time as best as possible. Wolf & Wood is only a seven person team, there’s people involved in both projects such as musicians, concept artists. It’s been a lot from that side, but as one’s kind of coming to an end, we’ve got the full version to do after that. I think we misjudged the timing a little bit with both landing so close together, but it does take years to do projects scale. So it’s very difficult to judge this stuff ahead of time. It’d be lovely to have a nice clean calendar but the nature of these opportunities that present themselves. There are some things that we don’t want to say no to.
UploadVR: Because you’ve got The Last Worker running on every major platform, was it always designed with VR first? Or was it flat and you then adapted into VR?
Bousfield: It’s been developed in tandem. During the course of development, we knew that the VR version would be the initial challenge with getting a player onto a vehicle and moving them around in a giant space. So we went there first and then into the flat version, which initially had these tank controls because that’s how you essentially move the pods. We tried doing that in flat but it didn’t translate, it didn’t feel snappy.
UploadVR: What did you do to get around that?
Bousfield: We went back to more traditional FPS control. The Pod, for the most part, it’s an extension of you. In first person, you don’t think about controlling the feet, you’re controlling the head and everything else follows. We refined that to get the snappy first person control, which really does translate well onto controllers. I think it feels good on Switch especially, which has the gyro controls. It has been crazy looking at all the different versions, control schemes and everything else we’ve got to consider. But at the core, it’s the same game. It should look and feel very similar across all platforms.
UploadVR: Thinking specifically with VR. You’ve got it running on Quest 2, Quest Pro, PSVR 2 and PC VR. Are there any big differences between how it runs on these headsets?
Bousfield: The biggest difference is the performance power you have. With controls and designing for all the different headsets now, they’re very in sync. When you look at the Quest 2 controllers compared to PSVR 2, they’re not that different compared to [Vive Wands]. From a design perspective, I do like that these controllers are becoming the standard. VR itself is not very standard anyway. You can do so much in the headset. You have to consider things like, what if somebody looks under a table? That’s something I didn’t need to worry about previously. Now it’s like, what if somebody puts their head in the corner? What if somebody tries to play lying down?
UploadVR: If people can, they will try.
Bousfield: Exactly. So it’s great that the hardware companies have kind of agreed to a design standard, which is great for us as developers. The biggest challenge is, how do you get something that looks good on PS5 and PSVR 2 running on a device that just doesn’t have the same GPU power?
UploadVR: Is that where the stylized art comes in?
Bousfield: Definitely. That’s a big thing from a technical standpoint, everything is handpainted. We have that real-time lighting and shading on characters to give us a sense of depth. But the details, scuffs, all the marks, the hairs and beards, they’re all hand drawn in. That helps it looks really nice and embodies this chunky style, like when you see Kurt’s sausage fingers. That helps it excel across all different platforms, giving continuity between high-end and where we’ve got to optimize more.
UploadVR: As a quick technical question with PSVR 2 since it’s been a hot topic, what is the refresh rate and framerate for The Last Worker?
Bousfield: So, we’re currently running 60Hz with reprojection to 120Hz in PSVR 2. That said, we’re looking at all options and this may change.
UploadVR: Regarding the Switch version, did you ever look at using Nintendo Labo and the cardboard VR for it?
Bousfield: Ah yes, very early in the conceptualisation of The Last Worker, Labo was something we chatted about but it was one of many ideas floating around. A cardboard representation of the JüngleGun does still sound like fun – given that the game is, on one level, about dispatching cardboard boxes!
UploadVR: Finally, you’ve got such a strong cast that we don’t normally see in VR games, how did that come about?
Bousfield: So, Jörg’s background is in comics, films. He’s got contacts, so he hit them up, showed them a prototype. He sent me a video of [Jason Isaacs] at his house, testing it out one of the very early builds. We were frightened about showing it so early. When we were in lockdown [with COVID-19], it sounded like we could make the schedule work. You had people working from the kitchen, or with [Ólafur Darri Ólafsson], a studio in Iceland.
The Last Worker arrives on March 30 for the Meta Quest platform, PSVR 2 and PC VR for $19.99. A flatscreen release is also planned for PC, PS5, Switch and Xbox Series X|S.
Block Buster, a VR arcade-action game where you destroy cities while dressed up as kaiju, launches on March 30 for Quest 2.
First revealed in 2020, Block Buster VR marks developer Happy Kamper Pictures’ debut game. Paying tribute to classic Kaiju films, you control one of five playable monsters inside a customizable kaiju costume, tearing down five fully destructible cities. Between smashing buildings, throwing tanks and eating the local citizens, each level has unique primary and secondary objectives and you unlock trophies upon completing them. Multiplayer is also supported via ‘in-room hangouts.’ You can find the official gameplay description below:
Block Buster is dedicated to every Kaiju movie you’ve ever watched. Tear up the town with five unique playable monsters: A giant ape, a radioactive lizard, a massive mecha, an angry prawn…or…a…badass butterfly…? Just go with it. Rampage through destruction-based scavenger hunts in five unique cities as you battle bosses and unlock hidden paths. And when the smashing’s done, go and build custom cosplay beasts in your ultimate Kaiju fan lair. Then invite friends over for a multiplayer hangout!
“It’s been a great experience for our first game, as people are eager to share their feedback and ideas on how we can keep adding things to Block Buster,” said creative director Brent Kappel in a prepared statement. Continuing further, Kappel then discusses potential post-launch update plans but doesn’t confirm any specifics. “It’s our hope to keep building upon the game with new monsters, cities, and play modes through DLC and expansion packs long after the initial launch.”
