The Postmortem of the Gaming Season.

The truths about appeared projects in the Gaming Season have already been seen, but nevertheless, new materials that came before and after emphasize the facts.

Once, I was involved in a live presentation of War Mongrels, where I could ask Destructive Creations. Unfortunately, their one developer either forgot her glasses or whatever other wrong was with her English when she read as “someone” when I wrote “somebody” every time. She wasn’t familiar with an old-fashioned variant, but what can expect from a non-native speaker? That understanding can relate to their games for which they use Unreal Engine, as always.

Recently, Destructive Creations disclosed Nailcrown, claiming that doing a shooter as it was in the nineties. I believed the tool they’re using hadn’t changed, and I received confirmation after asking and getting the answer from them. You can’t make such game on this engine. I discovered their explanation of that: “We'll do our best for Nailcrown to run as smooth as possible why being visually stunning. UE5 is great for that.” It is bad if this cares developers foremost. The engine’s shortcomings in physics of shooting and enemies’ perception of damage, and not enough savviness in artificial intelligence ruin the spirit. No supernatural voice and killing can convince in otherwise. Furthermore, the developer includes Painkiller as an accepted comparison.

Grand Theft Auto VI shows sameness till posters once again. It was since Grand Theft Auto III, when the cover art had frames with characters and sometimes transport. A placement is usually identical: a helicopter in the left upper angle, a female on the left side, a motorcycle in the right upper angle, some secondary character on the right low angle. A cover image of a current one includes, as usual, a woman but in an unattractive awkward pose – which is a feature since Grand Theft Auto: San Andreas. The committed long delay of release happened at a time when political correctness and far-left propaganda stopped being popular, and many of those games were cancelled and studios were closed. I do not care if it is relates to Grand Theft Auto VI. Maybe there was something bigger. Posters with characters reveal a lot of Negro and Hispanic. I never focus on men’s look, but all white humans are ugly and, perhaps, many of them are enemies, watching on their representation in crocodile hunters and bikers. There I usually noticed non-white females with good shapes, while none of them among Caucasian women who all are endomorph and fat. Though some following to ideological agenda had with dark-skinned women appearances of those seemed they carry a cellulite on the lower parts of their bodies. Watching images made the game exude a bad smell of quality, though I would surprise if it had any sign of goodness. My mind exclaimed how graphics are dreadful. The unchangeable RAGE engine already committed a death sentence.

It was every time that sloppy graphics depicted a whole game. That was with Psycho Dead. An available demo opens a hard walking and the camera tilts away from the playable character. No physics in killing. Bullets don’t affect the bodies of the monsters. Many headshots don’t work. They ignore and don’t turn to your side when get slugs. The mutants can be passive in running near them. The heroine’s telepathic abilities aren’t exclusive – they do a basic carrying of a subject. There are more games that are more interesting in these ideas. I point to Golden and Silver Ages.

The idea of 1666: Amsterdam appeared in 2010, as its author claims. Desilets is infatuated about conception of connection with an ancestor. The upcoming development has an Assassin’s Creed vibe in that, but in a grindhouse way, as it was seen in the prologue. More gameplay was shown in a developer’s diary. Expectedly, it couldn’t improve.

Cats can amaze with their abilities, as I saw how my love, Knopka Sophie, moved sideways on a wood wall, akin Spider-Man, to her secret hideout, where she kept her little charms by clinging with help of her talons. However, felines can’t crawl on a metal tube as it does in 1666: Amsterdam, an example of a B-game.

Developers don’t shy to show how the lead protagonist fighting a trio of same-faced men. I don’t think they are twins. These people don’t turn their heads and save motionless facial expressions in movements, which create awkward poses from that. She kicks them with a broomstick and they don’t express pain and fall in comic physics.

I love their honesty about making a bad game, though I see Panache Digital Games doesn’t aware of that fact. They confess in failure that the recreation of Amsterdam isn’t 100 percent. Desilets says, “That’s not a goal”. The developers’ vision is to make it look alike. The lead designer utters the opposite in the following sentence that people will feel Amsterdam. The entire diary is in French, and I don’t think it was something with translation.

It is curious to look a deviation of a man who began to develop an upside-down electronic compositions in comparing with past games. Desilets posted on X only positive or overly praising feedback about his prologue. Meantime, the account of Panache Digital Games there made a political correctness statement: “The future of women in gaming is BRIGHT” with images of programming projects featuring female leads. I have always been fascinated to observe a story from the women who are physically weaker and have an own perspectives–but far-left couldn’t comprehend those nuances respectively.

It can’t be anything else but ghastly, but I will play it and write about that. I want to reveal the destruction of Patrice Desilets.

It wasn’t the future, it wasn’t the present. And it wasn’t the past.