Search
Search results
Midge (525 KP) rated The Nowhere Child in Books
Mar 11, 2019
Brilliant And Dark
“The Nowhere Child” is a debut psychological thriller by Christian White and it was so special! Several things cast their spell - my favourite genre; a very smart cover design; winner of the Victorian Premier Literary Award; and great ratings from the offset. It could only be a winner!
The book opens with an introduction to the main protagonist Kimberly (Kim) Leamy who is a photography teacher in Melbourne, Australia. Twenty-six years earlier, Sammy Went, a two-year-old girl vanished from her home in Manson, Kentucky. James Finn, an American accountant who contacts Kim is convinced she was that child, kidnapped just after her birthday. She cannot believe the woman who raised her crossed international lines to steal a toddler.
Jack and Molly Went’s daughter Sammy disappeared from their Kentucky home in 1990. Already estranged, the couple drifted further apart as time passed. Jack did his best to raise and protect his other daughter and son while Molly found solace in her faith. The Church of the Light Within, a Pentecostal fundamentalist group who handle poisonous snakes as part of their worship, provided that faith.
Now, with proof that she and Sammy are in fact the same person, Kim travels to America to reunite with a family she never knew she had and to solve the mystery of her abduction that will take her deep into the dark heart of religious fanaticism.
For me, Christian White’s writing is captivating and extremely well structured. Although the theme of a child being stolen is not particularly original, the clever telling of this story made it a joy to read. The chapters alternate between the past and the present, maintaining the reader’s attention. The chapters narrated in the past explore the impact of Sammy’s disappearance on her family and the community in which they live. The other chapters follow Kim’s pathway of discovery to the truth about her past.
The most gripping parts of “The Nowhere Child” were the chapters about the past, as the author unearthed long-buried secrets of Kim’s grieving family. It seemed that nearly every character from her past had something they wanted to be kept hidden. Revelations were made that included identity, betrayal, secrets, loss and a sinister cult. A tense story of menace and suspense, the story held my interest from start to finish and the way in which Christian White brought everything to a conclusion was just fabulous.
I loved “The Nowhere Child” and I would recommend it to anyone who likes this genre. It has left me eager to read more from this author in the future.
Thank you to #NetGalley, and HarperCollins UK for a free ARC of #NowhereChild in exchange for a voluntary, honest review.
The book opens with an introduction to the main protagonist Kimberly (Kim) Leamy who is a photography teacher in Melbourne, Australia. Twenty-six years earlier, Sammy Went, a two-year-old girl vanished from her home in Manson, Kentucky. James Finn, an American accountant who contacts Kim is convinced she was that child, kidnapped just after her birthday. She cannot believe the woman who raised her crossed international lines to steal a toddler.
Jack and Molly Went’s daughter Sammy disappeared from their Kentucky home in 1990. Already estranged, the couple drifted further apart as time passed. Jack did his best to raise and protect his other daughter and son while Molly found solace in her faith. The Church of the Light Within, a Pentecostal fundamentalist group who handle poisonous snakes as part of their worship, provided that faith.
Now, with proof that she and Sammy are in fact the same person, Kim travels to America to reunite with a family she never knew she had and to solve the mystery of her abduction that will take her deep into the dark heart of religious fanaticism.
For me, Christian White’s writing is captivating and extremely well structured. Although the theme of a child being stolen is not particularly original, the clever telling of this story made it a joy to read. The chapters alternate between the past and the present, maintaining the reader’s attention. The chapters narrated in the past explore the impact of Sammy’s disappearance on her family and the community in which they live. The other chapters follow Kim’s pathway of discovery to the truth about her past.
The most gripping parts of “The Nowhere Child” were the chapters about the past, as the author unearthed long-buried secrets of Kim’s grieving family. It seemed that nearly every character from her past had something they wanted to be kept hidden. Revelations were made that included identity, betrayal, secrets, loss and a sinister cult. A tense story of menace and suspense, the story held my interest from start to finish and the way in which Christian White brought everything to a conclusion was just fabulous.
I loved “The Nowhere Child” and I would recommend it to anyone who likes this genre. It has left me eager to read more from this author in the future.
Thank you to #NetGalley, and HarperCollins UK for a free ARC of #NowhereChild in exchange for a voluntary, honest review.
Movie Metropolis (309 KP) rated Gods Of Egypt (2016) in Movies
Jun 10, 2019
God Awful
Those of you who keep up to date with the goings on in the film world may be thinking Gods of Egypt was released way back in February; and you’d be right for thinking that.
The film, directed by Alex Proyas (I, Robot, Knowing) performed so poorly in America at the start of the year that its UK release was scrapped, until now. But is the resulting film as bad as its figures would suggest? Or are we looking at a future cult classic?
Good god no. From shocking dialogue to laughable special effects; Gods of Egypt is a dreadful dirge of a movie with practically no saving graces. It’s just that bad.
The survival of mankind hangs in the balance when Set (Gerard Butler), the merciless god of darkness, usurps Egypt’s throne and plunges the empire into chaos. Hoping to save the world and rescue his true love, a defiant mortal named Bek (Brenton Thwaites) forms an alliance with the powerful god Horus (Nikolaj Coster-Waldau) to stop Set before he destroys everything.
Thankfully, the plot itself isn’t too bad and has a vaguely interesting premise. The problem is how it is executed. Alex Proyas takes our protagonists on a rollercoaster ride of bland set pieces, populated by cardboard enemies and special effects that manage to look expensive and awful at the same time.
Gold, blood red, sparkling granite and deep, rich blacks all combine for a nauseating colour palate, only worsened by the cinematography. No shot is lingered on for any great amount of time – it’s like Alex Proyas was too terrified of allowing his audience to see the mess up close, shifting from frame to frame every few seconds.
Elsewhere, the acting is fairly inconsistent. Gerard Butler yet again channels his character from 300, while newcomer Brenton Thwaites looks po-faced as he spouts complete and utter drivel, a departure from his promising turn in 2013’s The Giver. The painful attempts at comedy fall flat on every single occasion and ensure no cast member leaves with their dignity intact.
2016 has thrown up some pretty bad films. London Has Fallen, Through the Looking Glass and Zoolander 2 spring immediately to mind, but this manages to outdo them by a country mile.
Overall, Gods of Egypt leaves you with more questions than it answers. Why is the Egyptian god of darkness Scottish? Why is it over two hours long? What on earth was Summit Entertainment thinking pouring $140million into this thing?
There is some good news at the end of this rather murky rainbow however. Your question as to whether you should go and see it may well be the only question that can be answered.
https://moviemetropolis.net/2016/06/18/god-awful-gods-of-egypt-review/
The film, directed by Alex Proyas (I, Robot, Knowing) performed so poorly in America at the start of the year that its UK release was scrapped, until now. But is the resulting film as bad as its figures would suggest? Or are we looking at a future cult classic?
Good god no. From shocking dialogue to laughable special effects; Gods of Egypt is a dreadful dirge of a movie with practically no saving graces. It’s just that bad.
The survival of mankind hangs in the balance when Set (Gerard Butler), the merciless god of darkness, usurps Egypt’s throne and plunges the empire into chaos. Hoping to save the world and rescue his true love, a defiant mortal named Bek (Brenton Thwaites) forms an alliance with the powerful god Horus (Nikolaj Coster-Waldau) to stop Set before he destroys everything.
Thankfully, the plot itself isn’t too bad and has a vaguely interesting premise. The problem is how it is executed. Alex Proyas takes our protagonists on a rollercoaster ride of bland set pieces, populated by cardboard enemies and special effects that manage to look expensive and awful at the same time.
Gold, blood red, sparkling granite and deep, rich blacks all combine for a nauseating colour palate, only worsened by the cinematography. No shot is lingered on for any great amount of time – it’s like Alex Proyas was too terrified of allowing his audience to see the mess up close, shifting from frame to frame every few seconds.
Elsewhere, the acting is fairly inconsistent. Gerard Butler yet again channels his character from 300, while newcomer Brenton Thwaites looks po-faced as he spouts complete and utter drivel, a departure from his promising turn in 2013’s The Giver. The painful attempts at comedy fall flat on every single occasion and ensure no cast member leaves with their dignity intact.
2016 has thrown up some pretty bad films. London Has Fallen, Through the Looking Glass and Zoolander 2 spring immediately to mind, but this manages to outdo them by a country mile.
Overall, Gods of Egypt leaves you with more questions than it answers. Why is the Egyptian god of darkness Scottish? Why is it over two hours long? What on earth was Summit Entertainment thinking pouring $140million into this thing?
There is some good news at the end of this rather murky rainbow however. Your question as to whether you should go and see it may well be the only question that can be answered.
https://moviemetropolis.net/2016/06/18/god-awful-gods-of-egypt-review/
Movie Metropolis (309 KP) rated Allied (2016) in Movies
Jun 11, 2019
There's a great film in here somewhere
Director Robert Zemeckis has some impressive film credits to his name. From cult classics like Back to the Future to last year’s nausea inducing The Walk, there hasn’t been a genre his skills haven’t graced over the last four decades.
His most recent effort, Allied, sees the veteran director tackle the war genre with a film that certainly has its moments, but just how good is this wartime romantic drama?
Max Vatan (Brad Pitt) and Marianne Beauséjour (Marion Cotillard) are World War II operatives who never reveal their true identities. After falling in love during a risky mission, they hope to leave all that double-dealing behind them and start new lives. Instead, suspicion and danger envelop their marriage as both husband and wife become pitted against each other in an escalating, potentially lethal test that has global consequences.
Allied is an assured piece of film-making that tackles the claustrophobia of war incredibly well, but considering the talent at both ends of the camera, it lacks depth, harmony and above all; a plot that remains coherent throughout.
Brad Pitt and Marion Cotillard are their usual dependable selves but they lack chemistry until the closing act and as a result, their relationship lacks believability, hampering what is in effect, a love story.
Elsewhere, the cinematography is too often blighted by poorly lit scenes that restrict the talents of Allied’s director. Robert Zemeckis is at his best embarking upon projects that leap off the screen with their vibrancy. Take Back to the Future and Forrest Gump as prime examples of this.
Nevertheless, the film’s final act almost makes up for these shortcomings and turns a plodding romantic drama into a tense, well-acted and above all interesting movie that has a great script; it’s just a shame the first hour lacks any punch.
When it comes to special effects, well, they’re used sparingly, with the upside of this being that they liven up the film nicely. The scenes of London during the blitz are harrowingly beautiful, with one sequence in particular being a standout throughout the entire running time.
Overall, Allied is a decent stab at constructing a meaningful wartime romantic drama, though looking to history should have perhaps sent alarm bells ringing; Pearl Harbour anyone. The story is intriguing most definitely, and it has some nice special effects, but the script it’s crafted around lacks depth until the final hour. It’s probably fair to say that this may slip under the radar when we look back at Robert Zemeckis’s illustrious career.
https://moviemetropolis.net/2016/11/26/theres-a-great-film-in-here-somewhere-allied-review/
His most recent effort, Allied, sees the veteran director tackle the war genre with a film that certainly has its moments, but just how good is this wartime romantic drama?
Max Vatan (Brad Pitt) and Marianne Beauséjour (Marion Cotillard) are World War II operatives who never reveal their true identities. After falling in love during a risky mission, they hope to leave all that double-dealing behind them and start new lives. Instead, suspicion and danger envelop their marriage as both husband and wife become pitted against each other in an escalating, potentially lethal test that has global consequences.
Allied is an assured piece of film-making that tackles the claustrophobia of war incredibly well, but considering the talent at both ends of the camera, it lacks depth, harmony and above all; a plot that remains coherent throughout.
Brad Pitt and Marion Cotillard are their usual dependable selves but they lack chemistry until the closing act and as a result, their relationship lacks believability, hampering what is in effect, a love story.
Elsewhere, the cinematography is too often blighted by poorly lit scenes that restrict the talents of Allied’s director. Robert Zemeckis is at his best embarking upon projects that leap off the screen with their vibrancy. Take Back to the Future and Forrest Gump as prime examples of this.
Nevertheless, the film’s final act almost makes up for these shortcomings and turns a plodding romantic drama into a tense, well-acted and above all interesting movie that has a great script; it’s just a shame the first hour lacks any punch.
When it comes to special effects, well, they’re used sparingly, with the upside of this being that they liven up the film nicely. The scenes of London during the blitz are harrowingly beautiful, with one sequence in particular being a standout throughout the entire running time.
Overall, Allied is a decent stab at constructing a meaningful wartime romantic drama, though looking to history should have perhaps sent alarm bells ringing; Pearl Harbour anyone. The story is intriguing most definitely, and it has some nice special effects, but the script it’s crafted around lacks depth until the final hour. It’s probably fair to say that this may slip under the radar when we look back at Robert Zemeckis’s illustrious career.
https://moviemetropolis.net/2016/11/26/theres-a-great-film-in-here-somewhere-allied-review/
Kristy H (1252 KP) rated The Shadow Cabinet (Shades of London, #3) in Books
Feb 13, 2018
I read nearly 3/4 of this book curled up in my easy chair while the kids napped, snow falling softly outside. It is rare that I get that much peace and quiet anymore, so I roared through the book, wanting to finish it before the twins awoke and shattered the peace.
Therefore, any nitpicks I have about anything in the book feeling rushed are no doubt of my own doing, as I manically flipped pages, wanting to find out what happened to Rory and the rest of the gang. When the series is over, I look forward to reading all the books again, and savoring them a bit more.
Needless to say, I loved this book. Definitely my favorite novel to date this year. I am sure Johnson's Shade of London series isn't for everyone, but I've fallen for American-based Rory, a transplant in London, who can now see ghosts. It sounds preposterous, but Johnson has made it work- and work well- in all three novels so far. I love Rory, I love her character, and I love the group of people she's come to surround herself in London - far away from the home she knows in New Orleans.
<i>*spoilers if you haven't read the first two books - which you should, immediately!*</i>
In book three, Rory is dealing with the grief of losing Stephen, as the team frantically tries to find his ghost. They are also trying to find her prefect, Charlotte, who was kidnapped by Rory's therapist, Jane. We learn more about Jane and her past involvement in an ancient cult and a likely string of murders. It all involves a much bigger plot involving London's ability to harness its dead, and the existence of a murky, rumored government organization who polices ghosts.
We also meet a new character in this novel, Freddie (a girl), who is quite bright, but of whom I still remain suspicious - silly, perhaps, but it's so hard to trust new people coming into the gang. We see more of Jerome, which is nice, and Boo and Callum, of course. There's actually less focus on actual ghosts than you'd think and more on some big conspiracies, but it all works, really well. The camaraderie of the team, and the way Johnson voices Rory is just lovely, and the book reads so well. Even what should be a crazy plot is made readable and believable through the lens of these developed characters.
As always, I'm left a bit bereft, waiting for the next book. (And, for the record, I finished the last few pages right before the twins woke up. I feel like that's fate, right?)
Therefore, any nitpicks I have about anything in the book feeling rushed are no doubt of my own doing, as I manically flipped pages, wanting to find out what happened to Rory and the rest of the gang. When the series is over, I look forward to reading all the books again, and savoring them a bit more.
Needless to say, I loved this book. Definitely my favorite novel to date this year. I am sure Johnson's Shade of London series isn't for everyone, but I've fallen for American-based Rory, a transplant in London, who can now see ghosts. It sounds preposterous, but Johnson has made it work- and work well- in all three novels so far. I love Rory, I love her character, and I love the group of people she's come to surround herself in London - far away from the home she knows in New Orleans.
<i>*spoilers if you haven't read the first two books - which you should, immediately!*</i>
In book three, Rory is dealing with the grief of losing Stephen, as the team frantically tries to find his ghost. They are also trying to find her prefect, Charlotte, who was kidnapped by Rory's therapist, Jane. We learn more about Jane and her past involvement in an ancient cult and a likely string of murders. It all involves a much bigger plot involving London's ability to harness its dead, and the existence of a murky, rumored government organization who polices ghosts.
We also meet a new character in this novel, Freddie (a girl), who is quite bright, but of whom I still remain suspicious - silly, perhaps, but it's so hard to trust new people coming into the gang. We see more of Jerome, which is nice, and Boo and Callum, of course. There's actually less focus on actual ghosts than you'd think and more on some big conspiracies, but it all works, really well. The camaraderie of the team, and the way Johnson voices Rory is just lovely, and the book reads so well. Even what should be a crazy plot is made readable and believable through the lens of these developed characters.
As always, I'm left a bit bereft, waiting for the next book. (And, for the record, I finished the last few pages right before the twins woke up. I feel like that's fate, right?)
Bookapotamus (289 KP) rated Educated in Books
May 29, 2018
All the stars in the Idaho Sky! Tara Westover is so very brave. And her book is hands-down, 5+ stars amazing. This is by far the most riveting memoir I've ever read. I am so fascinated by cult-like religions, as well as homesteaders/survivalists and end-of-the-world preppers - and this quenched every thirst I've ever had for all those things and infinitely beyond. This was the extreme of both of those worlds. I cannot believe this is real life. The epitome of "you can't make this sh*t up," I imagine those words running through Tara's head often.
This is a story of growing up in middle-of-nowhere Idaho with Mormon anti-government parents, who "home-schooled" Tara and her brothers and sisters, while preaching these crazy ideals on these poor kids who just didn't know any better. They believed everything their parents said (who wouldn't believe their own parents?!), and the abuse and neglect she had to essentially endure because of it, was heartbreaking. These kids grew up with no birth certificates, never stepping foot inside a classroom or a doctor's office, zero modern medicine (including for severe burns and brain injury!), living in filth and squalor, and the constant pressure to be of extreme faith and a tireless servant of a God, that required way to much of these poor children. And all under the watchful eyes of a father who takes no less than their utter devotion to that God, no matter what the consequences.
It pains me to see them choose sides throughout - you really do get the sense that these parents love Tara in all the way they know how, and they honestly feel that what they are doing is right and just, but it's just so blatantly wrong. I applaud Tara for trying so very hard - throughout every victory in her life without them, and coming out on the other side, not bitter at all, still feeling love for her family.
I was enthralled by this memoir. There wasn't any second of this book that dragged, or lulled - I literally could not put it down. The writing is so well thought out, every person rich with description and character, and you root for this strong-willed little girl to get out, and make something of her life and triumph over the family who may love her, but believe her to be evil because she just wants to be free. And we know, because of this amazing book, she finally is.
Love. Love. Love!
Thank you to NetGalley for the opportunity to review and to Tara Westover for sharing her story.
This is a story of growing up in middle-of-nowhere Idaho with Mormon anti-government parents, who "home-schooled" Tara and her brothers and sisters, while preaching these crazy ideals on these poor kids who just didn't know any better. They believed everything their parents said (who wouldn't believe their own parents?!), and the abuse and neglect she had to essentially endure because of it, was heartbreaking. These kids grew up with no birth certificates, never stepping foot inside a classroom or a doctor's office, zero modern medicine (including for severe burns and brain injury!), living in filth and squalor, and the constant pressure to be of extreme faith and a tireless servant of a God, that required way to much of these poor children. And all under the watchful eyes of a father who takes no less than their utter devotion to that God, no matter what the consequences.
It pains me to see them choose sides throughout - you really do get the sense that these parents love Tara in all the way they know how, and they honestly feel that what they are doing is right and just, but it's just so blatantly wrong. I applaud Tara for trying so very hard - throughout every victory in her life without them, and coming out on the other side, not bitter at all, still feeling love for her family.
I was enthralled by this memoir. There wasn't any second of this book that dragged, or lulled - I literally could not put it down. The writing is so well thought out, every person rich with description and character, and you root for this strong-willed little girl to get out, and make something of her life and triumph over the family who may love her, but believe her to be evil because she just wants to be free. And we know, because of this amazing book, she finally is.
Love. Love. Love!
Thank you to NetGalley for the opportunity to review and to Tara Westover for sharing her story.
Gareth von Kallenbach (980 KP) rated Hot Tub Time Machine 2 (2015) in Movies
Jun 19, 2019
When “Hot Tub Time Machine” came out almost five years ago, it took a whacky concept of four friends whisked back in time during a getaway to the 80s giving them a chance to fix aspects of their lives they wished they had done differently.
The outrageous and bawdy humor as well as strong performances from John Cusack and Crispin Glover made the film a cult hit that earned over $64 million worldwide and did well on DVD sales as well.
Naturally a sequel was planned and when I first heard it was looking to be a direct to DVD sequel sans Cusack, I had an idea that the film may be little more than an effort to cash in on the success of the first film without offering much to the continued story of the characters.
I was encouraged by the early trailers for the sequel and as such went into the screener with better expectations than I had originally had when I first heard of the projects.
The film explains that “John Cusack’s character is off on adventure of self-discovery as the friends have all become wealthy and famous after the events of the first film. Lou (Rob Corddry) has milked Motley Crue and his knowledge of pending tech to establish himself as a major player, Nick (Craig Robinson) has cashed in on a recording career by covering famous songs from his day before they were ever released and Jacob (Clark Duke) is stuck playing Butler to his father Lou.
Lou has become an example of an ego run wild and during one of his lavish parties; he is shot and left near death. In a move of desperation, Nick and Jacob whisk Lou into the Hot Tub and attempt to go back in time to stop the shooting.
Things do not go as planned as the trio end up 15 years into the future and must find a way to put things right and get home.
One would think that this premise would be able to produce some funny moments, but sadly the film is painfully slow and plodding and most shocking of all, very, very unfunny. The film tries to get some crude laughs from a gameshow of the future and a homicidal Smart Car but the film just wanders from situation to situation looking for laughs and does not setup or execute them properly.
There is a montage scene at the end of the film which sadly is the best part and shows what could have been a much better sequel with the group going through time taking the place of famous individuals and interacting with them.
As it stands, “Hot Tub Time Machine 2”, is a trip you do not want to make.
http://sknr.net/2015/02/20/hot-tub-time-machine-2/
The outrageous and bawdy humor as well as strong performances from John Cusack and Crispin Glover made the film a cult hit that earned over $64 million worldwide and did well on DVD sales as well.
Naturally a sequel was planned and when I first heard it was looking to be a direct to DVD sequel sans Cusack, I had an idea that the film may be little more than an effort to cash in on the success of the first film without offering much to the continued story of the characters.
I was encouraged by the early trailers for the sequel and as such went into the screener with better expectations than I had originally had when I first heard of the projects.
The film explains that “John Cusack’s character is off on adventure of self-discovery as the friends have all become wealthy and famous after the events of the first film. Lou (Rob Corddry) has milked Motley Crue and his knowledge of pending tech to establish himself as a major player, Nick (Craig Robinson) has cashed in on a recording career by covering famous songs from his day before they were ever released and Jacob (Clark Duke) is stuck playing Butler to his father Lou.
Lou has become an example of an ego run wild and during one of his lavish parties; he is shot and left near death. In a move of desperation, Nick and Jacob whisk Lou into the Hot Tub and attempt to go back in time to stop the shooting.
Things do not go as planned as the trio end up 15 years into the future and must find a way to put things right and get home.
One would think that this premise would be able to produce some funny moments, but sadly the film is painfully slow and plodding and most shocking of all, very, very unfunny. The film tries to get some crude laughs from a gameshow of the future and a homicidal Smart Car but the film just wanders from situation to situation looking for laughs and does not setup or execute them properly.
There is a montage scene at the end of the film which sadly is the best part and shows what could have been a much better sequel with the group going through time taking the place of famous individuals and interacting with them.
As it stands, “Hot Tub Time Machine 2”, is a trip you do not want to make.
http://sknr.net/2015/02/20/hot-tub-time-machine-2/
The Alex Crow
Book
From the critically acclaimed author of cult teen novel Grasshopper Jungle, Andrew Smith, comes a...
Blaine Harrison recommended track In the Aeroplane Over the Sea by Neutral Milk Hotel in In the Aeroplane Over the Sea by Neutral Milk Hotel in Music (curated)
9.0
Album
Favorite
Adam Silvera recommended 100 Sideways Miles in Books (curated)
Gareth von Kallenbach (980 KP) rated Dusk in Video Games
May 10, 2021
I am late to the party with this one but DUSK is a game that I have been aware of since it was first announced but only recently had a chance to play. For fans of First Person Shooters and especially those who played early genre classics like DOOM, DOOM 2, and The Wolfenstein series; the recent trend of Indie developers making retro-looking shooters has been growing. While most have been fairly mediocre; there have been some such as Ion Fury which captured the Pixelated action that players embraced before 3D cards became widely used and eventually a necessary part of gaming.
DUSK lovingly blends old and new as it even has a DOS-like startup menu while the game loads to provide plenty of loving nostalgia.
The game is broken down into three chapters and tasks players to survive a dangerous cult and the various creatures and enemies they encounter. The gameplay is fairly simple as players gather weapons, ammunition, health, and other items and dispatch enemies as they race through a level to find various keys needed to open locked doors and advance to the end of the level.
Players will have an impressive arsenal at their disposal from pistols, shotguns, machine guns, hunting rifles, a Rivet gun, grenade launchers, and a sword. All of which will come in handy as there are multiple enemy types that lurk in the darkness.
Players will have a flashlight as well but be warned; there are maps where it will not be functional in certain parts and having to fire guns to provide temporary lighting in order to find a well-hidden path to advance will test your patience.
Players will also be able to double down on some weapons and dual Shotguns can be very enjoyable but may not have the rate of fire that players need.
There are also power-ups along the way that can speed up a player’s rate of fire and other enhancements to help move things along.
Levels were generally very fun and engaging and provided plenty of solid gameplay and enjoyable moments. There is a multiplayer aspect that features the old Deathmatch format but I was unable to find anyone in any of the games during the times I checked.
DUSK was a winning mix of nostalgia and action and had some very clever map designs and sequences such as one frustrating one where gravity was upturned and forced players to be very patient and creative.
I hope we see a DUSK 2 in the near future as the game is a winner and can show bigger studios how to make an engaging shooter that gamers will love without the mega-budget bells and whistles.
DUSK lovingly blends old and new as it even has a DOS-like startup menu while the game loads to provide plenty of loving nostalgia.
The game is broken down into three chapters and tasks players to survive a dangerous cult and the various creatures and enemies they encounter. The gameplay is fairly simple as players gather weapons, ammunition, health, and other items and dispatch enemies as they race through a level to find various keys needed to open locked doors and advance to the end of the level.
Players will have an impressive arsenal at their disposal from pistols, shotguns, machine guns, hunting rifles, a Rivet gun, grenade launchers, and a sword. All of which will come in handy as there are multiple enemy types that lurk in the darkness.
Players will have a flashlight as well but be warned; there are maps where it will not be functional in certain parts and having to fire guns to provide temporary lighting in order to find a well-hidden path to advance will test your patience.
Players will also be able to double down on some weapons and dual Shotguns can be very enjoyable but may not have the rate of fire that players need.
There are also power-ups along the way that can speed up a player’s rate of fire and other enhancements to help move things along.
Levels were generally very fun and engaging and provided plenty of solid gameplay and enjoyable moments. There is a multiplayer aspect that features the old Deathmatch format but I was unable to find anyone in any of the games during the times I checked.
DUSK was a winning mix of nostalgia and action and had some very clever map designs and sequences such as one frustrating one where gravity was upturned and forced players to be very patient and creative.
I hope we see a DUSK 2 in the near future as the game is a winner and can show bigger studios how to make an engaging shooter that gamers will love without the mega-budget bells and whistles.