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Disney Dreamlight Valley Wonderland Whimsy patch notes
Esports

Disney Dreamlight Valley Mysteries of Skull Rock release date & everything announced

by admin June 4, 2025



The Mysteries of Skull Rock update in Disney Dreamlight Valley finally unlocks the secrets of one of the game’s most talked-about landmarks

Ever since players first stepped foot on Dazzle Beach, the mysterious Skull Rock has sparked theories, curiosity, and speculation.

Now, after years of wondering, we finally have answers thanks to the latest Disney Dreamlight Valley showcase. The Mysteries of Skull Rock update is coming to Disney Dreamlight Valley, and it’s not just revealing what’s behind the rock. It’s opening up a whole new chapter for the Valley, packed with characters, stories, features, and surprises.

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Release date

The Mysteries of Skull Rock free update launches on June 18, 2025. It’s the next major content drop for all players.

Gameloft

New characters

This update continues the journey of The Forgotten, who will now become a full-time villager in your Valley. You can interact with them, unlock friendship rewards, and even choose their name.

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And yes, the long-awaited resident of Skull Rock is revealed to be none other than Peter Pan. Players can invite him to their Valley, complete friendship quests, and even help him start a new crew of Lost Boys.

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Star Path

The new Adventures in Neverland Star Path will let players unlock pirate outfits, magical mermaid cosmetics, and whimsical decorations to bring a bit of Neverland to their homes.

Gameloft

A new signature bundle adds Max, a treasure-hunting animal companion who can dig up nearby buried items. The bundle also includes themed furniture and décor.

Expansion Roadmap: The Storybook Vale Part 2

Gameloft

For players with the expansion pass, Part 2 of The Storybook Vale drops on July 9, 2025, bringing Maleficent, Aurora, and a magical new chapter in the Unwritten Realms.

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Free content roadmap

Gameloft

Coming later this year, players will explore emotional adventures in summer, solve a magical mystery in fall, and meet a long-awaited villager by year’s end.

New features and quality of life improvements

This update adds companion friendship levels and the ability to rename unnamed companions.

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Cross-Save for PlayStation also arrives June 18, with more improvements to multiplayer and core systems coming later in 2025.

While you wait for the next update, check out our other Dreamlight Valley guides, including those on the current DreamSnaps challenge and all active codes you can redeem for free rewards.

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June 4, 2025 0 comments
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First Steps' Replaced the Thing On-Set With a Rock Named Jennifer
Gaming Gear

First Steps’ Replaced the Thing On-Set With a Rock Named Jennifer

by admin June 4, 2025


Marvel Studios films are known to use unconventional methods for their character stand-ins and The Fantastic Four: First Steps aims to top the methods that came before. Actor Sean Gunn acted as a stand-in for Bradley Cooper as Guardians of the Galaxy’s Rocket Raccoon throughout various productions, but in a fun turn of events for the Matt Shakman-helmed feature, star Ebon Moss-Bachrach, who plays superhero Ben Grimm, got a different sort of companion to help bring the Thing to life.

Pulling a lot of the weight was “Jennifer”: a rock.

“We went out to the desert and found a rock that looked exactly how we thought the Thing should look,” Shakman told Empire Magazine, “and we filmed it in every single shot that the Thing appears in in the movie, under every lighting environment.”

The practical stand-in—no insight was given into the name choice, in case you’re also wondering about that—helped CG animators with the reference needed for coloring and lighting that would be required to support Moss-Bachrach’s motion-capture performance. It also helped ensure the character’s final form on screen wouldn’t be too cartoony.

Moss-Bachrach told the magazine, “It’s a little bit heady to think about all the hundreds of people that are helping animate this character. I just had faith that they would make my performance so much cooler. I’m very, very happy with the way Ben looks.”

While Jennifer helped with the character’s craggy appearance, the actor also did a deeper dive into Grimm’s interior too. “He’s a Lower East Side guy,” the actor explained about his connection as a NY native, same as the character’s creator Jack Kirby, who he kept in mind while creating his take on Ben. “A lot of this character was a homage to his father, and that, to me, is very meaningful.”

The Fantastic Four: First Steps opens in theaters July 25.

Want more io9 news? Check out when to expect the latest Marvel, Star Wars, and Star Trek releases, what’s next for the DC Universe on film and TV, and everything you need to know about the future of Doctor Who.



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June 4, 2025 0 comments
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Shiba Inu
Crypto Trends

Shiba Inu Triangle Formation Puts The Bears In Charge, 20% Crash Could Rock Meme Coin

by admin June 3, 2025


Trusted Editorial content, reviewed by leading industry experts and seasoned editors. Ad Disclosure

Crypto analyst Smart Trading has revealed a bearish pattern for Shiba Inu, indicating that the bears are in firm control. Based on this, he predicted that SHIB could witness a 20% crash, which would represent a huge setback for the bulls. 

Shiba Inu Breaks Down Below Triangle Pattern

In a TradingView post, Smart Trading stated that the Shiba Inu price recently broke down from a triangle pattern after consolidating near a key resistance. With this development, the analyst remarked that a potential retest of the breakdown zone around $0.00001396 is possible before continuing toward the support level near 0.00001041. 

Source: Smart Trading on Tradingview

Based on this analysis, the major levels to watch include the resistance at $0.00001396 and the support zone at $0.00001041. In a TradingView post, crypto analyst Paper Trader also echoed a similar sentiment. He noted that Shiba Inu is consolidating in a demand zone and near a key level. 

The analyst remarked that the bulls need the Shiba Inu price to break out of the demand zone above $0.00001300 for the top meme coin to reach $0.00001427. Based on his accompanying chart, this could pave the way for a further rally to $0.00001700. Paper Trader added that if the demand zone fails to hold, then SHIB bears can push the price to the 0.00001100 levels. 

Shiba Inu has struggled this year and is down over 38% since the start of the year. This underperformance has caused the meme coin to drop drastically in the crypto rankings, currently ranked as the 19th crypto by market cap. SHIB had, towards the end of last year, reentered the top 10 ranking by market cap after recording an impressive 81% gain in under two weeks. 

The Bottom May Be In For SHIB

On the other hand, crypto analyst GKTrademanthan has provided a bullish outlook for the Shiba Inu price, stating that the bottom is in for the meme coin. This came as he drew a similarity between the 2024 and current price action. He claimed that SHIB is following a repeated pattern cycle, which he broke into four stages. 

The first stage is the falling wedge, which the analyst revealed has been completed. GKTrademanthan revealed that Shiba Inu has also completed the Cup and Handle pattern and W Pattern, which are stages 2 and 3, respectively. 

Stage 4 is the inverted Head and Shoulders, which the analyst revealed is pending formation and could trigger a major upward move for Shiba Inu. The target on the breakout is $0.00002431, which represents about a 90% move from SHIB’s current levels. 

At the time of writing, the Shiba Inu price is trading at around $0.00001322, up over 3% in the last 24 hours, according to data from CoinMarketCap.

SHIB trading at $0.00001318 on the 1D chart | Source: SHIBUSDT on Tradingview.com

Featured image from Getty Images, chart from Tradingview.com

Editorial Process for bitcoinist is centered on delivering thoroughly researched, accurate, and unbiased content. We uphold strict sourcing standards, and each page undergoes diligent review by our team of top technology experts and seasoned editors. This process ensures the integrity, relevance, and value of our content for our readers.



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June 3, 2025 0 comments
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Tony Hawk and Rayssa Leal on the Suburbia level
Product Reviews

‘The soundtrack to skate parks was punk rock music’: Tony Hawk on the Tony Hawk’s Pro Skater soundtracks, and how they shaped a generation of videogame skate kids

by admin June 1, 2025



It’s difficult to think of games whose soundtrack had a bigger impact on an entire generation than the Tony Hawk’s Pro Skater series. Popular music had been a part of games for decades: Journey Escape for the Atari 2600 was a particularly weird example, and the use of Song 2 by Blur in FIFA: Road to World Cup 98 was iconic. But the Tony Hawk series was the first to use punk music in this way, and for many kids from the suburbs and the country, it was the first time they interacted with punk.

The structure of bite-sized two-minute levels was perfect for putting the music at the heart of the game as much as the skating was. The punk—or maybe hip hop or thrash—charging over each run became inextricably linked to skating, even for kids who had never touched a board or been to a park.

At the recent THPS Fest in Los Angeles, celebrating both the impending release of the new Tony Hawk’s Pro Skater 3 + 4 remake and the legacy of the soundtracks in general, I spoke to some of the people involved with the music of the Tony Hawk games. Here’s what legends of skating and music had to say about their enduring legacy.


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For Hawk himself, all of his aims for the game came back to one thing. “I thought it was important to represent the culture of skating, and the culture of skating in my early days was early punk rock music. Then Activision’s music department wanted to keep it balanced with newer music as well, so they leaned in towards newer punk at the time, and it’s crazy to think that Goldfinger was ever new,” Hawk says, sitting in his trailer before the THPS Fest concert. “Also, just other sounds that represent skating, like hip hop. So the music was important to me, but I didn’t think it was going to be something that would be a standalone hit, in terms of people saying ‘Oh, we can’t wait to hear about the soundtrack to the game’.”

It’s coming full circle now

Steve Caballero

Those lofty expectations mean updating the soundtrack for Tony Hawk Pro Skater 3 + 4 had added pressure—you’re updating something people view through almost 25 years of nostalgia goggles. This time Hawk was more involved in the soundtrack of his namesake. “I guess it’s a lot to live up to, but I am proud of all the soundtracks, including this new one. I had more input this time too, so I hope it lives up to the expectations.”

Steve Caballero was a pro skater featured as a playable character in the games and now, at the age of 60, his latest punk band Urethane has a song featured on the 3 + 4 soundtrack. When the original games were coming out he was in the privileged position of getting to pick songs for the soundtrack that would also feature in his skating video at the end of the game.

“Skateboarding is gnarly,” he says, “and so when you have a punk song driving a part, it flows really well. I just picked music that I felt would go with my video part. For number two I asked for Millencolin, and for 3 I brought Bodyjar from Australia. It’s coming full circle now because Bodyjar is back in Tony Hawk Pro Skater 3 + 4 and we’re touring with Bodyjar this summer.”

Keep up to date with the most important stories and the best deals, as picked by the PC Gamer team.

Lupe Fiasco is the artist behind the most famous skateboarding hip hop track of all time: Kick, Push. It was first included on Tony Hawk’s Downhill Jam, a departure from the Pro Skater and Underground titles. Now it’s being featured in a main Pro Skater soundtrack for the first time.

“It feels good,” Fiasco says. “Licensing companies are gonna license. You’ve got to let them do that when they want to do it,” he laughs. “No, Tony’s a homie. When Kick, Push first came out, he was one of the first skaters of note to invite me out to L. A. to perform it at one of the events, so this is kind of a full circle situation.”

Lupe Fiasco – Kick, Push (Official Video) – YouTube

Watch On

One of the striking things about these conversations are how down to earth all the skaters and musicians in the culture are. The godfather of freestyle skateboarding, Rodney Mullen invented a shocking number of tricks, including the kickflip—he also has a surprising air of humility given all his achievements. According to him, the soundtrack is one of the main reasons why the game was so successful.

People tend to find their music between the ages of, like, 9 or 10, up till 13 years old, and a lot of people found it at that time.

Tony Hawk

“They created something so enduring and special that it stood above everything else,” Mullen says. “I think the way that Tony included all of those bands and the music, the way that he reached outside culture—even if you didn’t skate, you appreciated the vibe. It conveyed the texture of what the culture is. Street art, everything else. All of it worked together to make it something distinct and different from anything that’s ever been done before. That’s why it’s lasted so long.”

Of course, as with all things that have significant impacts on culture, it’s not just the thing itself. It has to find the right people at the right time to have an effect, and Mullen posits that while having all the ingredients for success was important, Tony Hawk’s Pro Skater was definitely in the right place at the right time. “There’s a magic era in all things, right? So much was happening in terms of music, everything.”

Goldfinger – Superman (Official Audio) – YouTube

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For what it’s worth, Hawk agrees that timing is why the soundtrack had the impact it did. “I think it introduced a generation that was impressionable. People tend to find their music between the ages of, like, 9 or 10, up till 13 years old, and a lot of people found it at that time. But they truly liked it, it wasn’t like it was just being forced upon them. But it was the same for me. I started skating when I was 10. The soundtrack to skate parks was punk rock music. It was Devo, Dead Kennedys, Buzzcocks, Black Flag, Agent Orange, and that’s what I heard while I was skating, and that’s what I associated with skating.”

While you can never go back and experience the things that changed you for the first time again, this golden age of remasters and remakes means the millennials who fell in love with this music and culture at the right place and the right time can revisit it. The expanded Tony Hawk Pro Skater 3 + 4 soundtrack also means those now-middle-aged millennials can discover even more new music, while artists such as Caballero prove that we don’t ever have to stop finding and making new music.

With everything Y2K coming back in fashion again, perhaps a whole new generation of kids are about to fall in love with punk music through videogames.



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June 1, 2025 0 comments
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Five Years Later, Deep Rock Galactic Has Gotten Far By Rejecting Modernity
Game Updates

Five Years Later, Deep Rock Galactic Has Gotten Far By Rejecting Modernity

by admin May 29, 2025



Deep Rock Galactic celebrated its 5-year anniversary in May 2025. Below, we look at how it has maintained its identity as one of the best co-op shooters around.

Before any round of Deep Rock Galactic, my friends and I have a little ritual. We’ll pile into the bar at HQ and order a drink. Sometimes, it’ll be Deep Rock’s equivalent of a seasonal draft–complete with buffs that’ll carry over into the next few expeditions–but other times it’s just a brew with a silly effect, like a drink that’ll freeze the player or shrink them. We’ll hoist our mugs into the air, shout, “Rock and stone,” and then chug our virtual ale of choice. Shortly thereafter, one of us moseys over to the jukebox and drops a coin in. Before I know it, one of us is twirling like a ballerina while the other twerks adjacent to them. Someone else is doing the robot or some move reminiscent of Gangnam Style. Everything’s alright.

For this reason, and countless others, I feel it’s about time we talk about Deep Rock Galactic in the same vein as the greats. Since it’s 1.0 launch five years ago, the cooperative shooter has proven time and time again that it is more than just another novel (yet niche) take on the formula once perfected by titles like Left 4 Dead. It has instead carved out a unique and approachable vision of what this kind of game can be, filling titanic shoes and all the while paving a brighter and more inclusive road forward. That’s especially difficult given the obnoxiously dark tunnels under Hoxxes IV in which Deep Rock Galactic takes place. But by sticking to its guns and never kowtowing to the pressure of chasing trends like countless other live-service titles around it, Deep Rock Galactic has succeeded where many have failed, and stands to continue longer than many of its contemporaries.

Between best-in-class squad-based gameplay with clear and distinct roles, procedural-generation tools and mission types that freshen every run, an appealing low-poly art style, a user-friendly approach to seasonal content, a focus on irreverence, and a community driven by kindness, there’s very little that Deep Rock Galactic doesn’t knock out of the park.

Rock and stone

Deep Rock Galactic is a four-player cooperative shooter that tasks players with plumbing the depths of a hostile planet, Hoxxes IV, in search of materials to bring back to their parent company, the eponymous Deep Rock Galactic corporation. You are a squad of four blue-collar dwarves–complete with rad sci-fi equipment, pickaxes, a penchant for booze, and plump beards–working under the company on increasingly convoluted and dangerous jobs. Get in, get the job done, get the hell out of Dodge; that’s the gig.

To describe it as some of the most fun I’ve had in a game is still doing it a disservice.

Every run of Deep Rock Galactic is a deliriously fun romp. Across Hoxxes IV’s varied environs, which range from sand-blasted caverns and volcanic cores to fae-like crystalline caves and radioactive wastes, a vast range of mission types occupy the time of the dwarves that fill the ranks of the Deep Rock Galactic corporation. Sometimes, you will just have to harvest a certain kind of ore from a certain biome, like some kind of deep-space prospector, and other times, you are tasked with the assassination of monstrous bugs impeding progress. My favorite of these mission types involves building a pipeline to three pumps randomly distributed across the map. You have to lay it down piece by piece and can even grind on the rails of the pipe like you’re some kind of dwarven skater. Once they’re all connected and running, bugs will begin to target and break the pipes, prompting players to divide and conquer to defend the pipeline, all the while riding the pipes like an indoor rollercoaster. All in a day’s work at Deep Rock Galactic.

A gunner repelling an attack in one of Deep Rock Galactic’s biomes.

The varied and numerous jobs, as well as side objectives (like destroying a certain number of bug eggs) and possible encounters, ensure there’s never a dull moment. Sometimes a mission will be going swimmingly until a titanic bug nukes you off the map. You’ll be making your escape and be within feet of victory when an enemy type known to cling to the darkest part of the cavern ceilings extends a tentacle to pluck you off the ground and isolate you from the team. Deep Rock Galactic missions are rarely as simple as they seem on their face, and I always delight in the mischievous ways in which they twist the knife and provide another wrinkle and another story to tell ourselves and others.

To that end, each level–down to its composition and length–is procedurally generated, and for as long as I’ve played Deep Rock Galactic, I’ve rarely, if ever, encountered a level similar to any other, and that’s kept me coming back for years. Over that span of time, the developers at Ghost Ship Games have built upon the game’s foundation, adding modifiers, seasonal events, and additional mission types that have spiced up the diversity of content on offer. After some time away from the game, I recently revisited it and started a mission that culminated in an encounter that I had, miraculously, never done! Partway through another mission, a swarm of bugs covered in rocks appeared, forcing us to use our pickaxes to do damage to them as opposed to traditional weaponry, and this too was a surprising new addition. Since I first picked it up, the game has never lacked depth, but to see how far it’s come after a few years is astounding.

“Teamwork and beer will keep us together”

Once you’ve settled on a mission, you and your party will be dropped onto the planet in pods that burrow deep underground, at which point you’re prompted to pick a class and dig like your life depends on it…because it does. The four classes are composed of the gunner, engineer, scout, and driller. The gunner, as is maybe obvious, is the big damage dealer of the bunch, and comes complete with a good ol’ six shooter, while the engineer supports the others with turrets and placeable platforms that smooth out maneuverability in the game’s often-labyrinthine caverns. The scout is more of a lone wolf who can zip to places on their own with a hookshot, but also touts a flare gun that nails longer-lasting sources of light to walls to improve visibility. And then there’s my personal favorite, the driller, who supports the rest of the team by dual-wielding large drill bits and detonating C4 charges that blow bugs and chunks of earth sky high with similar aplomb.

No one is locked into a role and your party can opt for any permutations of the crew, including all of one class or none of another. Deep Rock Galactic matches are likely best played with all roles equally represented, but tuning the difficulty down (or simply being really experienced with the game) can make up for some absences; otherwise you may as well be playing with an additional handicap. I’ve lost count of the number of times that I could’ve desperately used a driller to reach some out-of-reach goal because I’d gotten lost and separated from the rest of my teammates. I can also recount numerous times a well-placed zipline was the key component in my reckless extraction.

They’re just here for the zipline.

Every class comes with its own set of unlockable weapons and they rarely step over one another in terms of utility. The driller, for example, mostly uses crowd-control weapons like a flamethrower, cryo gun, or sludge pump that can be charged to fire especially huge and debilitating globs of acid. The scout begins with a fairly standard assault rifle, but can eventually get a marksman rifle that can do massive damage with focus shots and their very own boomstick. Each weapon can be fine-tuned to your preferences via a skill tree and customizations, as well as overclocks that fundamentally change their natures.

In fact, just about every facet of the dwarves can be changed to your liking. Multiple seasons and years later, Deep Rock Galactic has a bevy of free customization options. They are unlocked by collecting resources and in-game money, as well as via progression on the season passes, which are all completely free and which you can swap between at any time. Additionally, there’s a wealth of paid customization options that can be picked up too, but these are largely seen as a way to support the team for all of the free content that they manage to squeeze into the game.You can also swap out the pieces of your pickaxe, your helmet, your beard, and just about everything in between them. So yes, if you’ve been picking up on this game’s pseudo-western vibe, you can rock a cowboy hat and live your space-western fantasy. As if that weren’t enough, there are challenges that net players upgrade points that can be spent on active and passive perks, which can be slotted into loadouts, further diversifying the possibilities, and endgame activities such as Deep Dives offer rewarding paths of progression for folks looking to make these characters into full-fledged avatars of themselves.

In brief, there’s no shortage of things to do or unlock in Deep Rock Galactic, and while development has slowed recently (mostly to accommodate the development of a few spin-offs), it seems primed to continue.

Clocking out

But if you were to ask me my favorite part of Deep Rock Galactic, it has very little to do with the action of an intense Hazard 5 mission or the joy of dressing up my dwarven miner. My absolute favorite aspect of Deep Rock Galactic is its emphasis on irreverence, and a community that often makes it feel like a home away from home.

Deep Rock Galactic is a blue-collar satire brought to life. This is a game which, upon loading into a lobby, feels like a post-work hang at your local happy hour. If I click in on one of my thumbsticks, my dwarf will often let out a “Rock and stone,” a catchphrase the dwarves and workers parrot at one another to get through the hard times. As we plumb the depths of a hazardous cavern, we shout a hearty “Rock and stone” or one of its many humorous derivatives, or bemoan Karl, an unseen but legendary lore figure who seems to have perished before our time. Little did I know at the time that this facsimile of companionship and camaraderie was precisely what I was looking for.

I found Deep Rock Galactic at one of my lowest points. It was the midst of the early pandemic, and I was lost in more ways than one. Like countless others, my days were spent feeling stranded and alone inside my apartment. Eventually, I reached out to some of my oldest and closest friends, whom I hadn’t spoken to for a long while at that point, and by their good graces, we reconciled and checked the game out. And perhaps because of that decision four-some-odd years ago, I find Deep Rock Galactic particularly endearing. It facilitated the rehabilitation of some of the most important relationships in my life. As we faked it as dwarven miners in space, we fell back into old bits, formed new inside jokes, and repaired the damage distance had wrought. We became best buds again. You know those memes where people gesture at deep late-night conversations they have while running in a circle in something like Minecraft? That was this game for me.

A full crew back at HQ, and some of them even have celebratory drinks in hand.

I loved just loading into Deep Rock Galactic and throwing back a drink with my closest friends while holding late-night confessionals. I loved slacking off at the Abyss Bar, which is tended by a bowler-hat-wearing robot named Lloyd, only for management to admonish us. I loved pissing away company time by endlessly engaging in a competition of kicking a nearby barrel into a hoop. I loved that there was a tiny dance floor where I could cut a rug (please, Ghost Ship Games, give us some kind of synchronized line dance), or the fact that failing to extract from a mission prompted us to spawn from the med bay in a patient gown with a well-placed slit, through which we could see each other’s underwear.

Even when my friends haven’t been available to play, I’ve rarely run into a crew of players that was ever hostile to me–which may as well be the default in certain other online spaces and games. Veteran players welcome “greenbeards,” or new players, with open arms, and I was never booted despite falling short of objectives, getting downed by overwhelming swarms, and failing to revive the rest of the crew to salvage the mission. This level of tolerance and patience for one another is a growing rarity, but the Deep Rock Galactic community has always enjoyed an abundance of it, and it’s something I’ve tried to carry forward as I’ve become a more-experienced player.

I think the camaraderie comes from the framing of the game. At the end of the day, we’re all at the whims of crappy managers and money men who see us as little more than digits on a spreadsheet, expendable and replaceable. Down in the mines, and in the pockets of time we get to enjoy above-ground before returning to them, we only have each other. So sure, the horrors persist, both in-game and outside of it, but so does the workman-like spirit of Deep Rock Galactic, which we carry with us.

Bucking trends

In a similar vein to how the players look out for each other, Ghost Ship Games really looks out for its community. I’ve already mentioned this in bits and pieces, but a lot of noise deserves to be made about Deep Rock Galactic’s approach to live-service content.

Each of its season passes (five and counting) are available to players entirely for free. Additionally, you keep access to those passes beyond the expiration of a season, meaning that years later, I can still access the means to unlock some cosmetics from 2021 if I so desire. Nothing gets ripped out of the game, and no one is ever gated from anything that’s been offered, unless it was tied to some event that’ll likely cycle back around. And nothing is kept from players who arrived to the game late. Just because I wasn’t actively playing during a specific season doesn’t mean I can’t ever get it. Everything of import, be it a new mission type, piece of equipment, or biome, is added to the game at no cost to the player.

While this approach is gaining some traction with other games in the live-service sphere (like Marvel Rivals), Deep Rock Galactic has long felt like the pioneer of the philosophy in the modern era, and is still the most generous of the bunch. At a time when huge publishers and developers either rip content out of the game never to return it or push microtransactions and paid season passes on their communities every few months, Deep Rock Galactic and Ghost Ship Games come out looking like saints. By rejecting the modern sensibility to nickel-and-dime its community, Ghost Ship Games has fostered one that actually sticks around and cares for the game and one another, even if it has a smaller audience compared to the Fortnites of the world.

By comparison, Deep Rock Galactic feels like a thing built to last. It isn’t built on trends or a callous model created to siphon your money and your time. Logging on and engaging in shenanigans with friends and randos alike, all the while earning little treats and trinkets like gear and cosmetics, feels intuitive and fun, rather than laborious. Despite its appearance and framing, it couldn’t be less like work. And I guess that’s what’s kept me coming back all these years, and it’s sure to keep me around another few as well. Rock and stone forever.



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May 29, 2025 0 comments
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Elden Ring Nightreign review | Rock Paper Shotgun
Game Reviews

Elden Ring Nightreign review | Rock Paper Shotgun

by admin May 28, 2025


Elden Ring Nightreign review

Nightreign is a curious experiment that magnifies a few of Elden Ring’s peculiar joys, but also sacrifices much of its identity – along with FromSoft’s own identity as committed worldbuilders.

  • Developer: FromSoftware
  • Publisher: FromSoftware/Bandai Namco
  • Release: May 29th, 2025
  • On: Windows
  • From: Steam
  • Price: £35 /€40 /$40
  • Reviewed on: Intel Core i5-12600K, 32GB RAM, Nvidia RTX 4060 Ti, Windows 11

Elden Ring had a starting class named the Wretch that gets a club and some ratty underwear filled with dreams and nothing else, and there’s something special about the first few hours in Limgrave playing them, scavenging your first pieces of mismatched armour and build-defining treasures. The first time you hit a site of grace, that initial stat boost feels like a deific power surge. Insomuch as Elden Ring’s most memorable stories run tangential and emergent to its static lore, this early fraught scramble is the player’s self-woven tale at its most captivating. Soon enough, though, the feeling is gone. You’re as powerful as god, desiring nothing but more bulbous Albinauric skulls to toss on the pile.

Elden Ring: Nightreign feels unique among FromSoft’s modern catalogue for its flippant attitude toward a convincing sense of place, and so regrettably sacrifices much of its studio’s identity as committed worldbuilders, even while amplifying some of their more peculiar and interesting beats. It’s tempting, then, to ask why it exists in the first place. On a generous day, I’d say that Nightreign exists to recreate – over and over – that same, wretchedly gratifying early-game feeling. Where every scrap of progress feels like a milestone, dull smithing stones shimmer like silver, and each incremental bonk stat increase is a hero’s journey in miniature.

Either solo or as a party of three (you can’t play as a duo yet), you’ll each pick from a roster of eight distinct characters, then ride a spectral eagle to the outskirts of (original name do not steal) Limveld. You get about fifteen minutes to run around and get stronger, during which time a ring of blue flame periodically shrinks the size of the map until all that’s left is the arena in which you’ll fight that day’s boss. Do it all again the next day, then fight one of seven new-to-Nightreign bosses, and your run ends. Beat four of them, and you can fight the game’s big bad.

Nightreign seems to look a little sharper than Elden Ring at max settings, although I had to turn some bits down to combat that old, familiar dodgy framerate. | Image credit: Rock Paper Shotgun/FromSoft

The rhythm of matches progresses like so: beat up the nearest trash mob for your first level up so you don’t get one-shot by a sneezing demihuman. Hit up some nearby churches for extra flask charges. Your quarry boss is weak to holy damage, so find a ruin marked with holy on your map to scrounge weapons. Night falls, you fight a sub-boss, and the sun rises again, resetting the ring. Maybe today you’ll find a stonesword key in chest, letting you fight an evergaol boss for big rewards. Perhaps you want to go troll hunting in a mine tunnel for smithing stones to boost your weapons. Maybe you want to stare into the shrinking blue ring and remember when FromSoft set trends instead of embracing them. Up to you. I’m not your Giant Dad.

All this occurs at a manic pace, denied as you are by the ring and falling night and the need to get stronger, fast, a precious spare second for the contemplation, thoroughness, or wonder that defined Elden Ring. Vistas are worth taking in only so you can scry the quickest route between two points. Ruins echo not layered, esoteric histories but promises of incremental power. The mighty and mournful creatures you meet are stunlocked into clownish judderfuckery as you fall upon them with restless triple bonksticks. Maybe you decide that you can take that ulcerated tree spirit even though the ring’s closing in, and there’s no grace to restore flasks between you and the boss. Maybe the tree spirit’s been souped up, one-shots you all, and you each lose a level and therefore minutes of progress in a game where minutes feel like miles.

You sprint towards the safe zone, cresting over hills in a rushed panic like the Fellowship set to Benny Hill. The boss fight is chaos as you try to identify friendspell from foespell in a jumble of phosphorescent wisp particles, plus those noises Elden Ring likes to make that sound like the exhalations of someone who finally made it to the urinal after a work meeting that ran twenty minutes too long. Cooldown timer abilities fire off relentlessly. The raider’s risen obelisk casts another buffglow into the mix. Movement and attack animations repeat themselves as phantom outlines as part of the Duchess’s restage ability. The Iron Eye zips around and looses arrows. You try to split aggro as befits whoever’s having a hard time. If someone falls, you run over and bonk them until they get up again.

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And you do it, and it feels great. Less in a “I have slain a terrifying yet oddly sad and whimsical creature on my journey to uncover the mysteries of this strange land” and more “lol top tier bullying there, mates”. Then you get to the proper boss, the new boss, and you get mollywhopped like pottery at a sledgehammer party, and you realise you’re going to have to repeat the equivalent of a forty-five minute bonfire-to-fog run to even see the move that killed you again. And that added repetition, I assume, is why Nightreign is comfortable charging 35 quid in the knowledge you probably won’t clear it in a weekend, even if there isn’t all that much new to see.

You will, at least, get some shiny rocks with stat buffs and other, more specific and situational effects. This is your meta-progression, alongside trinkets you’ll get for completing Remberance interludes. Each character has ritual objects with coloured slots, and you plug in these rocks and artefacts for effects that range from simple stat increases to more specific boons. Remembrances are short conversational sequences, often with a fetch quest attached to be performed in-match, that progress the associated character’s diary entries and reward powerful trinkets. I played the Duchess most, starting with a gem that gave my weapon fire damage and ending with a talisman that activated her damage-repeating Restage ability whenever I performed a dagger combo.

These extra abilities, the cooldown timers, a rock-clamouring double jump, automated levelling, and other mobility tweaks contribute to making Nightreign feel much closer to a focused and fixed action game than something more rooted in RPG flexibility. The action feels more controlled; in some ways more tailored, in others more unyielding in its shepherding you into specific playstyles. You won’t have to worry about equipment load, although many character abilities heavily incentivise sticking to your starting weapon class. One character has a double dodge. One can’t dodge at all, instead performing sidesteps. This halfway point between Elden Ring’s build diversity and Sekiro’s character action makes for a tight iteration on Elden Ring’s deliberate, demanding duels – if one absent the width of the former or depth of the latter.

Shoutout to these two, absolute champs. | Image credit: Rock Paper Shotgun/FromSoft

There is beauty and strangeness to be found, both in Limveld (original name do not steal) and back at the roundtable hold. Towering, twisted root giants migrate across a bruise-purple skyline. Great cinderous chasms open in the earth, inviting exploration. The roundtable hold is lusher, crumbling, given tangible form as a shoreside fort. It’s a form that nonetheless flies in the face of, to my understanding, Elden Ring’s lore. But this is a game where you might encounter Dark Souls 3’s nameless king, for no apparent reason other than boss variety, so asking for consistency feels foolish. Thus, the beauty and strangeness feels tangential. Discrete. Isolated wonders rather that the thoughtful, esoteric puzzle pieces that usually define Fromsoft’s fantasy worlds.

One, among many, of the studio’s enduring legacies. Souslikes proliferate to varying degrees of success and inventiveness. Both Doom and Clair Obscur’s creatives namecheck Sekiro as a influence. Perhaps I lack foresight, but when asking myself what legacy Nightreign will leave, I struggle to see it as prophetic of anything. If pushed, I’d gloomily suggest it’s more of a harbinger.

I look at Tencent’s and Sony’s increased stakes in FromSoft parent company Kadokawa. I look at The Duskbloods, another multiplayer game that evokes a utilitarian pastiche of Bloodborne and Sekiro, rather than a world that demanded creation by a storyteller. I look at some of Nightreign’s encounter design, utter low points for the studio, seemingly satisfied to cobble together annoyances to simulate challenge in lieu of new, creative creatures. A wormface with a death aura. Plus some some giant crabs. Plus some rats.

I think of the themes FromSoft’s Miyazaki is so fond of revisiting, of monarchs clinging on to life and power well past their time, and becoming something warped and hollow in the process. And I can’t help but see an exhaustion in Nightreign, despite splotches of sprightly inventiveness. I’m left asking why I should want to throw myself at these bosses once again, absent much of the delight or discovery that would give these challenges context. Instead, this is challenge for challenge’s sake. A stripped-off part of FromSoft’s creative identity with little appeal absent the whole. And ultimately, I’m left wishing they’d sit back down at the bonfire and have a good, long rest, until a real spark makes itself known again.



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RoadCraft review | Rock Paper Shotgun
Game Reviews

RoadCraft review | Rock Paper Shotgun

by admin May 28, 2025


RoadCraft review

A trundlesome road-building simulator with weighty vehicle physics and baby-brained AI drivers, in which logistics takes a long time.

  • Developer: Saber Interactive
  • Publisher: Focus Entertainment
  • Release: May 20th, 2025
  • On: Windows
  • From: Steam
  • Price: £35/$40/€40
  • Reviewed on: Intel Core-i7-11700F, 16GB RAM, Nvidia GeForce RTX 3060, Windows 10

I am falling asleep at the wheel of a big bulldozer. RoadCraft is not necessarily a boring game, but it is so meditatively slow, lumbering, and bit-by-bit that I find myself dozing when I’m supposed to be, um, dozing. Some of this is down to simple tiredness, but there’s also a dreamy sensation while playing this engine-purring infrastructure ’em up. I don’t mean dreamy in the sense that it fulfills the promise of nostalgic fantasy put forward by the game’s trailer (the one that suggests you’ll feel like a child playing with toy diggers again). I just mean that flattening sand makes me sleepy.

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It is a simulation in the most traditional sense. You’re the operator of a construction company that specialises in rebuilding roads and supply networks after natural disasters have wrecked the landscape. Rockslides, earthquakes, floods – all the devastation mother earth can possibly throw at a major railway line or harbour town. It’s your job to fix the place up with a fleet of diggers, bulldozers, steamrollers, and sand haulers, among other vehicles you may have never even seen before.

Your objective can be as straightforward as steering an all-wheel drive Jeepalike from a ruined factory to a derelict gas station, while using a blippy radar button to scan the ground and see which paths are drive-uponable (green circle for good solid dirt, red X for wheel-trapping muck). But this scouting quickly evolves into missions of hauling scrap metal to recycling plants using cranes and cargo trucks, or dumping mounds of sand into muddy holes to make a route passable for later AI-controlled convoys.

Seeing no symbol at all on the water’s surface means it’s so deep your engine will start to flood. | Image credit: Rock Paper Shotgun / Focus Entertainment

Laying roads is the most common activity, a necessity upon which all other deliveries and drivealongs rely (the clue is in the name). To build a road takes multiple steps in different vehicles. First, bring a dump truck full of sand to an offensively muddy patch of land and upend the stuff in as neat a line as you can. Then use a dozer to flatten the sand like a big coarse pancake. Third step, get an asphalter to come and make hot tarmacky love to the surface of the earth. Finally, use a roller to flatten it all out, following some big glowing lines to ensure it is suitably “road”ish.

This to-and-fro often involves getting those less capable vehicles (eg. the roller and the asphalter) to the scene of construction, a place which may itself be cut off by boggish obstacles or landslide-stricken roads. Ultimately, it’s a long process that you can sometimes automate, but realistically it’ll take up the majority of your time. Other objectives, like replacing pipes in pipelines or laying electric cables offer their own challenges. But you’ll often want good roads before doing any of that.

Performance talk! The game eats a lot of memory, and I have been victim of some blurry textures (sand being the worst affected). It became much less egregious when I turned off upscaling and played in native resolution. | Image credit: Rock Paper Shotgun / Focus Entertainment

The vehicles themselves feel suitably weighty. They bounce and tip and sway with all the heft you’d expect from a game by the developers of SnowRunner. But they’re also sometimes fiddly in a way that makes my brain do a mental squint. Vehicle controls can feel cluttered, with many mechanistic movements shoved onto one controller. Face buttons do things like activate low gear mode (wheels no slippy-slip) or lock differential (car no fall over). Simple enough on their own. But then holding down shoulder buttons unleashes a small swarm of vehicle specific controls – loader ramps, cargo straps, anchor feet.

It’s hard to tell if the resultant clawhanded shenanigans is intentional or not. The crane controls are particularly pat-head-rub-belly-ish. For me using some vehicles was often a bunch of staccato hand movements, like I was playing some kind of Toyota Land Cruiser QWOP. I want to say it soon gets easier, but the constant swapping of vehicles effectively stalls practice in each type of movement. Like many things in RoadCraft, getting a handle on the machinery took much longer than I expected. That I got the controller working at all was also a relief – the game had some issues with this at release, and the devs recommend disabling Steam controller input, which worked for me.

The slow and steady rhythm means it can take hours to do fundamental stuff, like getting a supply route into good shape. And despite the HQs and special trucks, both of which let you spawn vehicles nearby, there’s still a lot of lumbering back ‘n’ forth over the same roads. This isn’t at all bad if you love the feel of a big vehicle under your thumbs, but you will have to be really into Caterpillar if you’re to avoid the inevitable yawns at a tenth sand-lugging trip up and down the same dirt track.

You set up a company at the start. I run Trundlebork Ltd, for example – call us for all your impoverished paving needs. | Image credit: Rock Paper Shotgun / Focus Entertainment

Some excitement did kick in any time I was asked to explore some new region, or scout a path from some busted town to an abandoned steel pipes factory. It’s in the simple act of getting from A to B that RoadCraft excels – an adventurous rumble to find out exactly what B looks like, or what lies between. This isn’t surprising. The developer’s previous SnowRunner and MudRunner games made the bumbling journey their core pleasure. The objective there is simpler, and there’s no hopping around from tow truck to road wrecker to sand presser to rolly polly boy. Those are games about driving, whereas RoadCraft is a game about logistics.

This is where things get mucky. There’s a tension between the management side of things and the physical act of driving about. Once a route has some decent roads (or at least some reinforcing sand) you will plot a course from, say, a settlement to an oil refinery. Then watch as a convoy of wee computer-controlled eejits drive to their destination as safely as possible. In this way you earn resources, and money to buy new, slightly better vehicles (a cargo truck with a built-in crane is your fist must-by vehicle – since it avoids some of that cumbersome vehicle swappage).

The crane controls remind me of learning to play Brothers: A Tale Of Two Sons. | Image credit: Rock Paper Shotgun / Focus Entertainment

While you become more adept at maneuvering through the muck and rocks of the landscape, those AI workmates aren’t always as adaptable. Plotting viable routes for your AI drivers can quickly become an act of parenting, as you pick up every little shopping trolley or abandoned car that the dumbasses ride straight into. It’s your responsibility to help these computerised HGV morons avoid even minor detritus – you’re the one with the eye in the sky, after all, a wide satellite map showing detailed road ruination with multiple levels of zoom. But I still felt like slapping the drivers in the back of the head. Please Jerry, attain a basic level of autonomy wouldya? Though there is comic relief when those same drivers come honking down the road in a panic, and crash into you as you try to lay down some sand or crane concrete debris into the back of a truck.

The conflict between hands-off management sim and do-it-yourself design is noticeable when you look at what specific tasks need to be done manually and what busy-bodying is outsourced to the game. You can unload big steel bars and slabs from the back of your cargo truck with the tap of a button, for example. But loading them onto the truck requires a crane and lots of your own work. You have to carry certain recyclable cargo from place to place, but refilling sand can be done at the push of a button anywhere in range of a sand quarry.

What does this game want me to be: a digger driver, or a foreman? Each of the time-savey features may individually make sense from the designer’s perspective, but it makes learning the language and intentions of the game more difficult. When I see processes like speedy sand loading or rapid cargo chucking, it makes me desire other quicker, button-tappy ways to auto-do things, which is arguably against the entire philosophy of the game’s slow and manual approach.

Obstacles can feel inconsistent, forcing you to learn what is destructible and what is impervious to even the heftiest steam roll. A portapotty? Destructible. A shopping trolley? Made of impervious supernatural alloy. | Image credit: Rock Paper Shotgun / Focus Entertainment

In its best moments it reminds of the connective roadmaking and zipline networking of Death Stranding – a grindy walking sim that I found myself enjoying to my own utter astonishment. In RoadCraft, the building of roads is a multi-step physical process, rather than Norman Reedus’ hoovering up of resources and dumping them in a postbox. This should – in theory – feel more satisfying and meaningful. But somewhere in all the switching in and out of multiple vehicular bodies, I felt a juddering sense of “start-and-stop, start-and-stop, start-and-stop” that frustrated me. In multiplayer this problem may not exist, as each person can man one vehicle and take on a specialist role – sand flattener, rolly polly-er, earth fucker. But I haven’t found time to try that out – maybe in a future article.

If I had lots of free time, I would probably enjoy it a lot more. But I don’t, so tipping over with a cargo bay full of steel beams makes me frown, where it might have otherwise made me laugh. This, I think, is another issue. RoadCraft is a podcast game, in the same vein as Truck Simulator or Elite: Dangerous. There’s a big place for games like this in the world, sims that excel in delivering a specific kind of wonderful and comforting boredom. Slow tasks that act as a reassuring sedative in the manic whorl of life. But RoadCraft’s start-and-go flow makes it a bumpier ride for me. I was falling asleep, but I never quite drifted off into its promised dreamland.



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Rock on with CRKD's KEYJAM Mode for Gibson Les Paul Guitar Controllers
Esports

Rock on with CRKD’s KEYJAM Mode for Gibson Les Paul Guitar Controllers

by admin May 22, 2025


Today, CRKD announced KEYJAM Mode for their Gibson Les Paul Guitar Controllers.

KEYJAM Mode (Mode 9) maps the controller as a gaming keyboard and mouse, offering compatibility with Fortnite® Festival on PC, Xbox Series X|S, Xbox One, PlayStation®4, and PlayStation®5. This new mode delivers a plug-and-play experience, allowing players to use the guitar controller with no additional setup or adapters.

Powered by CRKD’s Keyjam Mapping feature, the fret buttons, strum bar, and other inputs act as keyboard inputs, while the right thumbstick on the guitar functions as a mouse, providing effortless control over menu navigation. Whether selecting songs, navigating interfaces, or confirming settings, it adds ease and precision to the experience.

Each unit includes overlay stickers for the Navigation Hub and D-Pad to help identify key mappings. Players can further customize inputs via the free CRKD CTRL companion app, tailoring layouts to their preferred play style or in-game binding.

KEYJAM Mode works in wired, wireless (2.4GHz), and Bluetooth® configurations, delivering low-latency, ultra-responsive control, ideal for rhythm gaming precision.

Beyond KEYJAM Mode, the CRKD Gibson Les Paul® Multi-Platform Guitar Controller supports a wide range of devices—including PC, Nintendo® Switch™ consoles, mobile, tablet, and smart TVs—through its other integrated modes, offering true multi-format support across modern and legacy platforms. It also supports legacy games like Guitar Hero™ and Rock Band™ in P3 Mode.

The controller is also compatible in multiple modes with popular community PC rhythm games like YARG and Clone Hero, giving players even more flexibility across the titles they love.

Whether you’re diving into Fortnite Festival or rocking through community created games, KEYJAM Mode elevates the guitar controller experience to a new standard of versatility and performance.

Pricing from 1st June 2025 is as follows:

CRKD Gibson Les Paul® Black Tribal Encore Edition Guitar Controller:Multi-Platform: $114.99 / €129.99 / £109.99.CRKD Gibson Les Paul® Black Tribal Encore Edition Guitar Controller:Xbox Licensed: $124.99 / €139.99 / £119.99.CRKD Gibson Les Paul® Blueberry Burst PRO Edition Guitar Controller:Multi-Platform: $124.99 / €139.99 / £119.99.CRKD Gibson Les Paul® Blueberry Burst PRO Edition Guitar Controller:Xbox Licensed: $134.99 / €149.99 / £129.99.Multi-Platform models are expected to begin shipping from July 2025. Xbox Licensed models are expected to begin shipping from August 2025.

For more on CRKD, stay tuned to GamingTrend.


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Monster Train 2 review | Rock Paper Shotgun
Game Reviews

Monster Train 2 review | Rock Paper Shotgun

by admin May 21, 2025


Monster Train 2 review

A juicy and reasonably inventive roguelike card-battling sequel that will devour all the commutes you throw at it.

  • Developer: Shiny Shoe
  • Publisher: Big Fan Games
  • Release: May 21st 2025
  • On: Windows
  • From: Steam
  • Price: $25/£21/€20
  • Reviewed on: Intel Core-i7 12700F, 16GB RAM, Nvidia RTX 3060, Windows 11


The roguelike deckbuilder is a remorseless evil that strives to colonise every dream ever dreamt by the human brain. It is a sparkling, shuffling plague, germinated by Slay The Spire, that threatens to absorb every other mortal pastime, from space travel through poker to carpentry. We must find a way to neutralise the entity before it assimilates us all. But in the words of the oldest proverb: just one more go. Just one more go, before I dissipate raging into that goodnight. Just one more run, before I play all those shortform avant garde releases in my Itch.io wallet.


If Monster Train 2 were the last roguelike deckbuilder I ever played, I would consider myself fairly pleased, and also very relieved. While not a huge departure from the game that plunged Matt Cox (RPS in peace) into unholy raptures, it’s a great pick if you’re fond of numbers going up and realising it’s 1.30am and that you are now too addled by card synergies to sleep. You do not have to like or understand trains, but it’s a plus.


As with Monster Train, Monster Train 2 is about riding a demon locomotive through an alternating series of battles and upgrade or customisation opportunities. In the first game, you were trying to oust the angelic hosts from the heart of hell. In this one, the angels and devils have bandied together to chase off the Titans, who’ve taken possession of Heaven.

There’s a certain amount of plot lodged in the crevices of the lobby town. This worried me at first – character development? In my progression system? – but it mostly consists of gentle sitcom sketches in which dragons complain about their husbands. Rest assured that none of it will keep you from your precious synergies. While embarked on your celestial commute, you will also bumble into random storylets that sometimes offer boons plucked from other roguelike deckbuilders, such as Balatro. The roguebuilding decklike singularity is nigh.

Watch on YouTube


The game’s big draw versus those other turn-based card battlers is that it’s actually three card battles in parallel, each feeding into the next like cunningly enfolded lanes in a tower defence game. During each skirmish, you pop unit cards on the lower three floors of your train to protect the all-important pyre on your fourth floor. The pyre is the source of points you’ll spend to play cards each turn. If it gets smashed to bits, your run is over.


Following a deployment phase, waves of enemies appear at the bottom (mostly) and travel upwards through the train, fighting a single round of combat per floor. This continues until the final assault from the local boss, which dispenses with the single-round-per-floor parameter – the boss must clear each floor of defenders before moving on. While units do battle automatically at the end of each turn, generally targeting the first enemy in the opposing line-up, you can intervene manually using spell cards that, for example, coat critters in Pyrogel to multiply damage received, or dazzle them with stardust so that they miss a turn.


It may seem a rickety, unintuitive format on paper. In practice, it’s wonderful. The overall challenge is to divide your cards and points scientifically between floors. An obvious gambit is to stock the bottom floor with your tankiest, most damaging cards to bollard the onslaught and saddle enemies with debuffs early on – there are plenty of attackers that power-up as they fight or climb. But the one-round-per-floor setup ensures that you can’t rely on any single floor. Besides, if that over-fortified foundation crumbles, the other, under-crewed layers will probably fall as well.

Enemy waves also form deviously alternating combinations of unit types, which thwart efforts to optimise any particular floor. Your heavies in Second Class might excel at melting juggernauts, but they’ll struggle against the hordes of fungus making their way back from the cafeteria.

Image credit: Rock Paper Shotgun / Big Fan Games


Monster Train 2 retains all this curious, rattling magic, but fills out the gaps with a bunch of new card categories and interactables, probably derived from careful observation of the first game’s players. There’s now a choice of starting pyres, with varying stats and modifiers. Some unit cards have or may acquire abilities, which essentially give you a free move: these include conjuring back the last spell you cast, and body-slamming targets into the rearguard.

New equipment cards can be clapped on friend and foe alike to, for example, harm assailants based on the wearer’s max health, or chip-damage a unit when they shift between floors. I’ve found that last one especially useful in the case of more agile bosses, who roam around like disgruntled ticket collectors before committing to the push.


Room cards, meanwhile, help you specialise floors. Turn one into a fighting arena and you can farm the small fry for easy pyre points to spend on expensive cards elsewhere. Introduce a planetarium and you’ll amplify any magic you weave within. I have never been brave enough to play the burning room that does 50 points of damage to units inside, but there’s probably a way to hack the card chemistry so that the incendiary conditions actually benefit your defenders.


All of these ins and outs are shaped by the five factions, each a reworking and elaboration of elements from the original game. You pick two as your primary and secondary clan for each run, which dictates your starting champion card – a named unit with a choice of upgrade paths – and the kinds of cards you’ll acquire at rest stops between battles.


The factions are a treat, each a verdant entanglement of playstyles. I will spoil the workings of just two. The strength of the Lunar Coven waxes and wanes with the phases of the moon. As such, victory often comes from delicately timing your most powerful cards, but the hitch is that some cards are more potent when the moon is full, others when it’s in shadow.

The dragons of Pyreborn, meanwhile, are all about gold – grabbing fat stacks early in the run, melting it down into lobbable slag (“Make It Rain”), or jealously hoarding it for buffs. The first time I beat Monster Train 2 it was thanks to the Pyreborn’s Greed Dragons, who accrue health and attack points based on how many dragon eggs you’ve acquired. You can hatch those eggs for artifacts, which may be sensible when you’re trundling up to the last boss, but I consider that a poor return for sacrificing a train’s worth of Smaughs.


Buffs! Buffs? Buffs. As with many a Spirelike, much of Monster Train 2’s enchantment comes from “breaking” the combat, which is to say, violently skewing the starting card capacities in ways doubtless envisaged by the designers using an artful compound of hallucinogens and spreadsheets. A case study: here is how you transform Ekka, High Witch of the Coven with a proud total of five attack and health points, into a titan slayer. First, you’ll want to pick either the Celestial Spellweaver or Silver Empress upgrade paths, each of which steadily accrues magical power, or Conduit. The Spellweaver gains it for every spell you cast on the same floor, while the Empress gets a massive boost while the moon is full.


You’ll probably want to deploy Ekka alongside a Lunar Priestess, who performs a ritual each turn that slops yet more spelljuice over friendly units. Now, hand the High Witch a Moonlit Glaive that confers a “mageblade” multiplier based on all that pent-up sorcery. The result should be a champion who looks like an ailing fortune teller yet can somehow dish out 300+ damage a turn, mulching the chewiest of chthonic crusaders in a single hit – and that’s before you exploit the ludicrous multipliers for your spells on Ekka’s floor, afforded by her conduit level.

True, she still has a glass jaw, and true, if she cops it, your wizardly arsenal will be proportionately punier. But you can head off those risks by wedging her behind a Silent Sentinel that absorbs damage while making foes even more susceptible to spells.


I gaze upon my willowy Wiccan wrecking ball with boundless, aching pride and satisfaction. And then I start to feel like Bilbo Baggins regaining his senses after beating a large woodlouse to death in Mirkwood. The appeal of the roguelite deckbuilder is the joy of expressing your wit and invention through alchemical mastery of maths. At best, it is like improvising a tune in response to haphazard melodies, dancing your own composition into the cadences of enemies and bosses.


At worst, it is like doing times-tables with fancier graphics – not that much fancier, in the case of Monster Train 2, which is readable and digestible, but badly needs a more interesting colour scheme and some more creative character designs. And even at its best, there’s a necessary hollowness to it, as anybody who’s ever yielded 100 hours of day and night to such games will know. The randomisation element sinks its blood-crusted hook, even as the glittery card effects make no bones of the genre’s adjacency to casino slot machines. Run gives way to run gives way to run.

Still, that’s more of a wider, philosophical objection to the genre than a criticism of Monster Train 2 in particular. If you have no such hoity-toity qualms, this is as bountiful an experience as you could ask for. Each victorious raid on heaven produces a shower of unlockable cards and items that you can put immediately to the test. If you’re weary of raiding the main campaign for cards, there are bespoke puzzle-campaigns via dimensional portal back at the starting depot, where you can test out various overarching modifiers. Or, if you really trust the hand you’ve amassed, you can segue your victory directly into Endless mode and extend this roguelike railway unto infinity. Heaven is only a fleeting fiction, next to the protean immensity of the deck.



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