Kingdom Come: Deliverance

Kingdom Come: Deliverance is not exactly an easy game, but you can transform Henry from lowly peasant to fearsome knight fairly quickly if you know what you're doing. Modder Knoxogoshi's Ultimate Realism Overhaul looks to change that by making the game harder, especially early on. It bumps up the difficulty of combat, slows down progression, and makes Groschen—Bohemia's currency—harder to come by. It sounds brutal, but if you've already finished your first playthrough then it might be a good excuse to start all over again.

It touches on almost every one of the game's systems. The mod tweaks every weapon's damage value and strength requirements, which will make it more difficult to wield the best weapons and almost impossible to one-shot enemies late in the game. You'll also have to pay more attention to the type of weapon you're using: maces, for example, will do barely any damage against padded armour, will weigh a lot more than other weapons, and will have a much shorter reach. 

The mod shrinks the window for a perfect block, while enemies will co-ordinate their attacks to try and hit you at the same time, rather than queuing up to strike, which they tend to do in the base game.  

The mod slows down leveling and nerfs some of Henry's perks. You'll build up hunger faster—to the point where you might starve if you don't eat for a day—and you can't simply eat from stew pots anymore, because they'll only give you a tiny meal. 

Making money in Deliverance can be a struggle at the start but this mod makes it ever harder by lowering the prices that merchants will pay you for goods and ramping up the cost of certain items, especially armour.

It'll make the early game particularly difficult: inflated inn prices mean you might not be able to afford a room for a while, leaving you to sleep on the street. And because you'll need more food, you'll run out of gold quickly, which means you'll probably have to steal lots of bread if you want to survive.

Best of all, it's modular, so you can choose to just overhaul the combat and progression systems, or take everything but the economy changes, for example. Download it all from the mod's Nexus page. I'd recommend reading the description in full first so you know what you're getting yourself into.

If you're looking to tweak the game further, check out our list of best mods.


Occult Scrim looks like a fun twist on Half Life: it's not quite a fully top-down shooter, but it's nearly there, with the camera floating way overhead. Your job is to blast through enemies to rack up points, which you'll spend on new weapons and items when you return to your base, an armoury.

It's still very early days for the mod, and it doesn't yet have a release date, but it looks remarkably polished. The perspective works well, and your character—a black ops assassin—automatically adjusts their aim up and down depending on where your enemies are. It looks like it plays far quicker than the base game, with lots of enemies on screen at one time. 

The camera has two positions: you can bring it slightly closer to the action if you want to get extra precise. Even when it's zoomed out, the guns feel meaty and solid. I'm not sure how many of the weapons are new and how many come from the base game, but I'm impressed nonetheless.

Enemy behaviour has been tweaked from the original to make them more challenging to fight, and they'll do things like roll and strafe out of the line of fire. You'll face bosses, too, like the one below. 

Click here for its ModDB page. It's one I'll be keeping an eye on as it comes together.


Prey's latest teaser for what we can now safely assume is an expansion set on the moon hints that publisher Bethesda will reveal all the details in its E3 presentation on June 10—or perhaps even launch the DLC live on air. Developer Arkane Studios tweeted out a picture, below, featuring its employees each revealing a bloodshot eye and holding up cryptic signs. But the blackboard in the top-right is the most revealing bit.

It features multiple references to the moon, mentions Kosma Corp—a rival of mega-corporation TranStar—and asks "What about Peter?" Perhaps that's a nod to Peter Coleman, a character from Prey that the player discovers dead and disfigured.

It also lists the date 06.10.18 at the top, which (if taken in the American date format) is the same date as publisher Bethesda's press conference. If you were optimistic, you might see that as a release date for whatever developer Arkane has planned, and that's certainly possible. It could also be the date that it spills the beans on the expansion.

I doubt that Arkane's teaser campaign is over, so I'd keep an eye on its Twitter page if you want to keep hunting for clues.

More Prey can only be a good thing, I think. As Phil said in his review, its combat and enemy design were sloppy at times, but its beautiful setting provided you plenty of freedom. It's definitely worth playing.

Thanks, PCGamesN.  

Half-Life 2

Oh, snap! It's yet another PCG Q&A, where every Saturday we ask the panel of PC Gamer writers a question about PC gaming. You're also very welcome to share your thoughts in the comments below. This week: which game actually lived up to the hype?

Jody Macgregor: The Witcher 3

I hated the first Witcher game, and although the second one's an improvement in a lot of ways I still thought most of it was dull—apart from the bit where you get drunk and wake up with a tattoo, obviously. So when glowing reviews came out for The Witcher 3 I ignored them. There was plenty of other stuff to play in 2015: Tales From the Borderlands, Rocket League, Life is Strange, Pillars of Eternity, Devil Daggers, Her Story. I was busy.

It took a solid year's worth of articles about how incredible every aspect of The Witcher 3 was, from the side quests to the potion-making to the characters to the wind in the goddamn trees, before I finally caved and tried it. Everyone was right, it's now on my "best games of all time" list, and I've become one of those people who says you should turn the music down so you can hear the wind in Velen. There's an entire subreddit devoted to whinging about games journalism's never-ending love affair with writing about The Witcher 3, but without that constant praise I wouldn't have pushed past my disinterest to give it the chance it deserved. And now I've become one of those people who won't shut up about The Witcher 3.

Samuel Roberts: Metal Gear Solid V

Not everyone will agree with this one, but I've lived through multiple Metal Gear hype cycles (MGS2 and MGS4 most memorably), and this is the one game that really deserved it. While this Metal Gear has the worst story in the series by far, it's also a superior stealth game. With its suite of upgrades and repeatable missions, I easily played MGSV for over 100 hours, and I have no doubt I'll reinstall it someday. 

Chris Livingston: Portal 2

I think the original Portal was a near-perfect experience. You learned to play as you played and each test chamber increased in complexity at a rate that was challenging but never frustrating. It was funny and surprising and satisfying, and short enough that it didn't have time to wear out its welcome. When trailers for Portal 2 began appearing, I was just as excited as anyone else, though I wasn't really expecting to love it in the same way. More complex, more characters, more story, more puzzles, more more more. I just couldn't imagine it matching the original, which proved (to me at least) that less is more.

It definitely lived up to the hype, though. Portal 2 is amazing, funny, challenging, surprising, and every bit as brilliant as the first. Maybe it's still true that less is more, but that doesn't mean more is less.

Jarred Walton: Half-Life 2

Piggybacking off Chris here, Half-Life 2 was an incredible follow-up to one of the best (if not the best) games of the '90s. The original Half-Life surprised the hell out of me with ways it changed the first-person shooter. After playing a ton of Quake and Quake 2, story seemed to be an afterthought, but Half-Life revolutionized the genre. Okay, the Xen levels at the end almost ruined it, but I still wanted more.

And then I waited, waited, and waited some more. Daikatana proved that games too long in development could suck, and HL2 felt like it might be doomed to the same fate. But with the addition of the gravity gun and physics, plus a great setting and story that made you care about the characters, it exceeded its source material in every way. I'm still holding out hope for HL3, naturally, but those are some massive shoes to fill.

Tom Senior: Deus Ex: Human Revolution

I was dangerously excited when a new Deus Ex was announced. I was hyped to the extent that it would have really stung if a new Deus Ex fell well short of expectations. Human Revolution had a few problems, but it was exactly the atmospheric cyberpunk playground I wanted and the art direction added a new dimension to the Deus Ex universe. Due to the technological limitations of the era the old Deus Ex games struggled to show art or architecture (apart from that silly Earth-in-a-giant-claw statue at the start). Human Revolution decided that everything would be gold, and full of triangles, and its depiction of futuristic augments was gorgeous. I would quite like a pair of Jensen arms.

Human Revolution really got Deus Ex. It had hacking, vents, and intricate levels. But it also had something else, something new: retractable arm-swords. Not many people would look at the groundbreaking masterpiece of Deus Ex and think 'this needs retractable arm-swords', but Eidos Montreal had the vision to make retractable arm-swords happen. I will always respect them for that. 

Andy Kelly: Grand Theft Auto: Vice City

I remember the buzz around Vice City vividly. Every time I saw that stylish advert on TV, the one with 'I Ran' by Flock of Seagulls, I got a tingle of excitement. Magazines were full of gushing previews, treating every morsel of information like it was the biggest scoop since Watergate. And then when it came out, it was everything I dreamed it would be. A bigger, more detailed city. An incredible soundtrack. More fun and varied missions. A better story. An all-star cast. HELICOPTERS. Being able to fly around a city of that size back then was a genuine thrill.

GTA III was great, but it felt like an experiment in places; a concept for what a 3D Grand Theft Auto game could be. But Vice City was the first time Rockstar really nailed it, and laid a solid foundation for the 3D era of their world-conquering series. The '80s (or at least some exaggerated, romanticised version of it) has begun to saturate pop culture to an annoying degree lately, so I can't see Rockstar returning to that setting. It's too obvious. But I would like to see Vice City again in a different, more contemporary era, perhaps showing the bleak, faded aftermath of its hedonistic '80s heyday.

Andy Chalk: Deus Ex: Human Revolution

The first time I saw this teaser I made a noise like a ten-year-old opening the latest issue of Tiger Beat. Then I saw this teaser, and I pretty much hyperventilated and passed out. I knew in my heart that DX: Human Revolution couldn't be that good, because Deus Ex was lightning in a bottle: Ugly, clunky, with terrible voice acting and a ridiculous, incoherent story, all of which somehow got smushed together into basically the best game ever made. How do you fall down a flight of stairs and land in a bed of roses twice? 

But then Human Revolution came out, and it was that good. Not perfect, and I will never not be mad about those boss fights. But Adam Jensen is the perfect successor (predecessor, I suppose) to JC Denton, I loved the visual style (including the piss filter) and the music (because it's not Deus Ex without a great soundtrack), and the whole thing just felt right: Not as off-the-conspiracy-theory-hook as the original, but big and sprawling and unpredictable—a legitimate point of entry into that world. It took more than a decade to get from Deus Ex to Human Revolution, and it was worth the wait. 

Kaet Must Die!

Every time I play the demo of Kaet Must Die! it ends with me, Kaet, dying. Which I guess is truth in advertising. It's a first-person horror game that, from my limited perspective, is mostly about crawling through a sewer collecting glowing mushrooms when it is not about me, Kaet, being murdered. Sometimes I get approached by a creepy little Jawa-looking dude with glowing eyes who I scare off using my mushroom-powered psychic ability to summon balls of light, but mostly what happens is that a skinless jerk appears out of nowhere, grabs me, and drags me down into a GAME OVER screen.

Kaet Must Die! is a deliberately hard game, one that like Bennett Foddy's Getting Over It seems designed to hurt a certain kind of player. The story of how it ended up that way is an interesting one, but I'll let Scott Reschke, the CEO of indie studio Strength In Numbers, tell that.

PC Gamer: To get the obvious out of the way: why spell it "K A E T"?

Scott Reschke: Ha! Kaet is one of the characters from our first, unreleased, Early Access, game Tuebor: I Will Defend. Her full name is actually Kaetheran, but everyone at the studio kept shortening her name to Kaet, so it kind of just stuck.

How far back does the idea for Kaet Must Die! go?The original concept for Kaet Must Die! was born out of frustration and chance. While working Tuebor, our studio's first title, our team was experimenting with livestreaming various kinds of games to see what interested folks the most. We noticed that viewers responded much more strongly when we streamed horror/puzzle games, as opposed to other popular PvP-focused titles, like Overwatch and Paladins. In fact, Alien: Isolation and the indie jump scare title Emily Wants to Play seemed to interest viewers the most.It was quite surprising, and since we already had a full set of wonderful assets, characters, audio effects, particle effects, and whatnot on-hand from our work on Tuebor, we decided to greenlight a simple jump scare prototype for Kaet Must Die! Originally, this early build was just one level set in an underground sewer map from our first game.It was around this time that I had found myself extremely frustrated with the industry. There were some major setbacks for our company throughout the course of development for Tuebor, so I had intended for Kaet Must Die! to be our studio’s swan-song farewell, with the idea that we'd make it as memorable as possible by making it as hard as possible to beat.  

To our surprise, we started receiving an insane amount of positive feedback as a direct response to the game's difficulty. Players and streamers were also responding well to the game’s difficulty, calling it "the Dark Souls of jump scare."What was supposed to be a single-level game that could be completed in a few hours, quickly wound up evolving into a much larger game with 10 levels that increase exponentially in difficulty. Players started asking for more story, more lore, more background on the game's mysterious setting—so we started ramping up production, adding more complex cutscenes and storytelling via cryptic notes and graffiti messages scrawled across the walls in each level. Traps, puzzles, and more cinematics also followed.Before we knew it, what was originally designed to be an almost unfairly difficult jump scare puzzle game evolved into a more story-focused focused horror puzzle game. The jump scares are still there. However, they are no longer the prime focus of Kaet Must Die!  As players progress, the game's story unfolds more and players will find out more about the creator of all the creatures, monsters, and tortured souls around every corner who are all trying to kill Kaet. 

So talk me through the road to getting this game where it's at today. You submitted it to some big publishers but were rebuffed—what did they say?

Well, this game is technically the third game Strength in Numbers Studios is releasing. Our first game, Tuebor: I Will Defend, was intended to be the tent-pole title for our company. Tuebor is a third-person arena fighter with multiple PvP and co-op game modes. That is where it all started for us back in 2012. I tried doing everything the way I thought was best for an indie studio, and tried to be responsible in regards to our company's developers, investors, and most importantly, the players we wanted to enjoy our game.

I knew that indies often solicit developers to work for them for free in exchange for a "cut of the profits", however I also know how hard it is to make a living in this industry, especially if you are just starting out. As a result, I spent three years stumping for investment from various funds, incentives, Angel groups, VCs, etc. I was shut down by everyone given that there is no real flow of investment towards game development in this state [Michigan]. My luck turned around at the last minute when I got a private investor to put up the cash for the game (and a percentage ownership in the company). 

Kaet Must Die! was initially my final flipping the bird to all things game development. I'd poured almost a decade of my life into this industry and company

Scott Reschke

I immediately started hiring developers from where I could find them (another problem in living in a state that doesn't have a flow of game development; there aren’t really many qualified devs). I started building the team and off we went to building the game. Ramp-up time was slow, but we were making progress. As soon as we had enough assets and demo pieces ready, we started sending out emails to publishers to try and get them on board. After fielding several calls with large and small publishers I was told "looks great, get back to us when you've got more finished product."

Two stress-filled years later, Tuebor was playing well, the major bugs ironed out, and we had small community of loyal fans who were telling everyone they could to come play with us. The sad part was that Overwatch, Battleborn, Paragon, Gigantic, PUBG, Paladins, had all come out in the meantime. 

We had managed to get through Steam Greenlight (back when it was required to get votes) and I was using Steam Early Access in order to test and polish and pivot on the game according to player feedback (as I thought you were supposed to do in Early Access).

Sadly, the major launches of products in Early Access, often AAA games using the early access moniker to pre-sell units, has somewhat borked the system. If your game wasn't polished and ready to go, you get a heavy dose on negativity by the early player base, despite it being plainly labeled as "Alpha" or "Beta" or "Early Access".  

We struggled to keep the community going amidst Overwatch and PUBG hype, and so I tried again to reach out to publishers. At this point I was told "looks great, but you should have come to us sooner because we need time to put our brand and spin on it." 

The biggest publisher (a major global one) told me "it doesn't look indie enough" for their indie-branch (pointing to several highly stylized 2D sidescrollers), while the others said, "it doesn't look AAA enough." 

Somehow, we managed to make Tuebor a game that was super fun to play, but that success was bittersweet following conflicting feedback from publishers that labeled it as "completely unknown," "too AAA for indie," "not AAA enough," "too early," and "too late," all at the same time. 

Which led to your decision to make a game that's unforgiving as possible. I'm imagining that bit from The Simpsons where Homer explains his reason for wanting to be a Bigger Brother is "spite".

Oh yes. Kaet Must Die! was initially my final flipping the bird to all things game development. I'd poured almost a decade of my life into this industry and company, and thought I did things the right way (actual salaries for the devs, health insurance, flexible hours, going Early Access instead of releasing a bug-filled Gold release), but rejection and conflicting feedback from talks with publishers was the last straw. I hate to admit it, but the salt was strong in me.

So we channeled that frustration and moved full speed ahead with Kaet Must Die!, aiming to make an arguably unfairly difficult game nobody could beat. The real amusing part is that this challenge in-and-of-itself could be the very thing that saves this company and allows our studio to move forward.I've been told that it feels more like "old school" gaming from so many random people who keep trying for hours at a time to beat even the easiest level.

In recent years we've seen a lot of games that advertise extreme difficulty doing well for themselves. Is making Kaet Must Die! more punishing not actually quite a crowd-pleasing move?

I had started making Kaet Must Die! before seeing the likes of Cuphead come out, but am thrilled with seeing that it is a viable genre. In terms of design, Kaet Must Die! is more inspired by player reactions to Dark Souls, Alien: Isolation, and games such as that. If players consider Kaet Must Die! in their personal list of games they loved to hate the most, we'll be very pleased. 

Kaet Must Die! will be available on April 5. You can download the demo on Steam.

Dota 2

For the first time ever, the International Dota 2 Championships are coming to the magical land of Canada, the home of hockey, poutine, telephone poles, and other such stereotypical touchstones. Valve announced today that this year's big donnybrook will take place August 20-25 in the Rogers Arena, home of the Vancouver Canucks, in Vancouver, British Columbia. 

Tickets will go on sale at 10 am/1 pm, and 10 pm/1 am, PT on March 23, and will be available in two types: Midweek tickets, which will go for $125 CDN ($96), providing access to the first four days of the event, and Finals tickets, for $250 CDN ($191), granting access to the last two days. If you want to attend for the full stretch, you'll have to spring for both, and no VIP tickets are being offered this year.   

Tickets will be available for purchase via, and Valve recommends that you have your account squared away and be logged in before the selling begins. That pretty much covers it, but if you have questions, the International Ticketing FAQ should be able to help you out.   

The Elder Scrolls®: Legends™

Having already done Skyrim and Clockwork City, The Elder Scrolls: Legends is ticking off another stop on the tour guide by heading Vvardenfell for its next expansion: Houses of Morrowind. The new set was announced earlier today and is scheduled for release on March 29. It will add 149 cards to the game based on the mystical realm of the Dunmer, and also make some big changes to the core mechanics of the game, foremost of which are the addition of new three-attribute cards and an increase to the already voluminous deck size limit. 

Legends decks are normally limited to two attributes, or "colors": Agility, endurance, intelligence, strength, and willpower, plus "neutral" cards that can be played in any deck. Houses of Morrowind will introduce cards that feature three attributes, and which when included in your deck will enable you to pick from all three of those colors. Check out Dagoth Ur at the top of this page, which is a Strength/Intelligence/Agility card. He also has the new 'God' tribal tag, and just about every basic keyword crammed into his card text.

There is, as always, a catch. In order to use three-attribute cards, you must have at least 75 cards in your deck. Those of you who play TESL will likely be aware that the maximum deck size is currently 70, but the expansion will also increase that limit to 100 cards, for all decks. To the uninitiated this might sound like a good thing—more is better and all that—but as players of almost any collectible card game will tell you, running more cards is almost always sub-optimal because it dilutes the overall quality and means you're less likely to draw your most important cards.

Not that that's stopped players from experimenting with 70-card decks already, so I'd expect plenty of fun to be had with the potentially powerful and versatile tri-colored decks. Just bear in mind that they're also likely to be less consistent. However sweet Mr Ur might look, it's not so much fun if you never draw him.

The Houses of Morrowind set will include cards that enable five of the ten possible three-attribute sets, one from each of the factions in Vvardenfell: 

House Redoran: Strength/Willpower/Endurance – Redoran cards can also take advantage of the new "Rally" keyword, which adds +1/+1 to a random creature in your hand whenever a Rally creature attacks.

House Telvanni: Intelligence/Agility/Endurance – The Telvanni have a new "Betray" mechanic: After playing a Betray card, players can sacrifice a creature in their hand in order to play it again.

House Hlaalu: Strength/Willpower/Agility – The new Hlaalu keyword is "Plot," which triggers special abilities on a card if you've played another card in the same turn.

Tribunal Temple: Intelligence/Willpower/Endurance – The home of Vivec, Almalexia, and Sotha Sil offers "Exalt," which grants bonuses to creatures when they're played for higher-than-normal magicka costs. Exalt can have an even bigger impact when the gods come into play, as seen on the Vivec card:

House Dagoth: Strength/Intelligence/Agility – The Morrowind bad guys offer special bonuses for having creatures of 5 power or higher in your hand.

The Elder Scrolls: Legends – Houses of Morrowind is set to go live on March 28. Full details are up at, and you can also read our review of the base game here.

Tomb Raider

Daniel Wu is mostly wasted as a sidekick who gets about 10 minutes of screen time.

I can think of a lot of things that would've made Tomb Raider a much stupider movie. For example: dinosaurs.

Tomb Raider is not a terrible movie. After game adaptation like Hitman (the bad one, and the other bad one) and braindead bullshit like Pixels, that’s a relief. Remember the 90s, when Hollywood was hellbent on adapting every Japanese game into a movie, and that gave us post-apocalyptic cyberpunk Mario, Jean Claude Van Damme in an invisible boat and this poor bloated bastard in Double Dragon? Tomb Raider bears little resemblance to those messy, hilarious, horribly acted movies. And honestly, I wish it did. Then it wouldn’t be so boring. 

You’ve seen this movie before, in every Hollywood origin story. Like the 2013 game, Tomb Raider and actress Alicia Vikander try to make Lara Croft a believably real, human character, and both end up making her the action movie cliche of a real person, instead. You know the type: she's "poor" because she won't spend her family's billions, but still hangs out on cool, scenic rooftops in London. She struggles with the violence of killing someone to survive, but is soon making death-defying leaps and wielding a bow like she's been puncturing windpipes and not apples all her life.

Most of this character growth is conveniently explained by flashbacks, strategically inserted to ensure you don't need to worry about things like nuance or subtext as you watch. As an adaptation of the 2013 game, I'd call Tomb Raider a complete success: it's safe, generic action entertainment that takes itself a bit too seriously.

Alicia Vikander kills it in the action scenes, but it's all just so predictable.

I can think of a lot of things that would've made Tomb Raider a much stupider movie. For example: dinosaurs. Most of the story is set on an island Lara seeks out, the island her father disappeared on, which happens to hold the tomb (!!) of the long-lost Queen Himiko. On that island Lara encounters Trinity, an evil Illuminati organization trying to find Himiko's tomb to use her mystical powers for evil. There aren't any dinosaurs on the island, which makes sense, because dinosaurs died out something like 65 million years ago. But all I'm saying is, what if there had been?

Put dinosaurs in this movie and it would immediately get way dumber. I definitely would've started laughing. Just imagine it! There's some rustling in the bushes, and instead of a guy jumping out at Lara and trying to choke her, it's a damn shoulda-been-extinct-forever-ago raptor! That would've been preposterous. And imagine if, when Lara had discovered the location of Himiko's tomb and opened it for Trinity's goons into it after completing a classic videogame puzzle sequence…

You can almost see the QTE prompts.

Mummies. Imagine how dumb it would be if Lara ended up fighting her way through a bunch of reanimated mummies to get to Himiko's body. That would be much less realistic than the Temple of Doom-style traps Lara and the bad guy, Vogel, find themselves dodging. And mummies would be a complete tonal mishmash with Vogel, played by Walton Goggins, who comes across as ruthless and a little bit crazy, but too lightly sketched to be as intimidating as the movie wants him to be. He wouldn't be very scary once mummies showed up. 

If Lara Croft had ridden a centaur...

Or maybe he could've gone crazy, and been extra scary. Walton Goggins can play crazy. He's great at it! And when they finally got to Himiko's tomb, the dumbest thing I can imagine being there to guard it, pretty much, is a centaur. That shit would be campy as hell. I don't even know how I'd review a movie that ended with Lara Croft jumping on the back of a centaur and killing it with a climbing pick. In the kind of movie where something like that happened, the writer definitely would've made Alicia Vikander say "Tomb? Raided." after killing everything. I'm groaning and it hasn't even happened.

All of those crazy, dumb things happen in the original Tomb Raider game, and they would've been full-on ridiculous in a movie. But they're also the things that made Tomb Raider so memorable. I will never forget stepping into that valley and seeing that T-Rex come out of the darkness. I love the foreboding atmosphere and how enemies like mummies make you really feel like you've discovered a place no human has been in thousands of years. I also love the movie The Mummy starring Brendan Fraser and Rachel Weisz, and how it goes full camp but still makes you love its characters with fun writing and chemistry.

I just really want to rewatch The Mummy, to be honest.

None of the characters in Tomb Raider have that chemistry, because they don't have enough time on screen together to earn it, and the film takes itself too seriously, which is why there's never even a hint of tension that dinosaurs might show up, or mummies might bust through the walls, or anything might happen to deviate from the predictable path of a totally fine action movie.

If Lara Croft had ridden a centaur, this movie would've been panned. It probably would've bombed. Of course the things that work in videogames don't often translate to movies with real human beings. The videogame movies of the 90s never really learned that, which is why they're so consistently insane. It's also why they're never, ever boring—and when they're predictable, it's because you know the stupidest possible thing is about to happen. Tomb Raider isn't a terrible movie, but I wish it was. It would've been a lot more fun, that way.

Dead In Bermuda

Dead in Bermuda is a "survival management game with RPG and adventure elements" in which a plane crash leaves eight people stranded on a desert island, and it falls to you to keep them alive. You'll have to deal with all the usual problems, like hunger, sickness, injury, depression, and interpersonal relationships, while researching and crafting upgrades to your camp, exploring the island around you, and unraveling the secrets of an ancient Atlantean prophecy—a point on the feature list that really comes out of nowhere. 

I'll admit that I wasn't familiar with the game prior to today, but it's been out for a couple of years and has "mostly positive" user reviews on Steam. More relevantly, it's free—totally free—on Origin right now as an "On the House" game. That means you can hit the Origin page, click the "Add to Game Library" button, and it will be added permanently to your game library. Free game!

If the low price of "free" doesn't quite convince you, you can learn more about the game at If, on the other hand, you like what you see, developer CCCP has a new "bad news in a nice place" game, Dead in Vinland, coming on April 12. 

Grand Theft Auto V

If you've ever played Grand Theft Auto 5, you've probably stolen a car. You've probably owned an illegal gun. And you've probably pulled the trigger. But have you ever dipped someone's pockets—swiping their cash or phone or smokes without them noticing? iLLo's work-in-progress Pickpocket Script has you covered. 

(Spoiler: I'm fairly certain the bespectacled surf person in the header image above is onto us.)

"Bump into them, get the stuff, and get the hell out," says the mod's creator which seems like pretty solid advice. iLLo also explains the mod allows for two approaches: with or without force. I like their words on the latter: "You can either choose to be fast, and brutal, bumping into people, forcing your way out. Or you can play it subtle, like an artist, and arrive slowly behind your victim and discretely grab whatever you want."

Once you've made your mark, stolen goods—single items at a time—can be sold on to a nearby dealer, identified on the map by a green blip. Sure, there are faster ways to earn cash in San Andreas, but who needs the hassle of planning and executing elaborate heists?

Skip to 7.30 here to see Pickpocket Script in action (I don't speak Czech, but the footage speaks for itself):

Down the line, iLLo plans to add a tiered pickpocketing skill stat, some wanted level adjustments, inventory stashes, and dealers who betray you, rob from you and/or turn you in to the 5-0. Snitches get stitches.  

More information on Pickpocket Script, including installation instructions, can be found on its GTA5-Mods page


Search news
Mar   Feb   Jan  
Archives By Year
2018   2017   2016   2015   2014  
2013   2012   2011   2010   2009  
2008   2007   2006   2005   2004  
2003   2002