In Rue Valley you role play a guy with poor mental health. He wanders around a crappy motel, stuck in the same old patterns of life, seemingly unable to escape his inner demons. When confronted with the premise for this upcoming RPG you may have one of two reactions. The first: you will say "lol, it me" with enough humour to wishlist it on Steam and earmark it for the future. The second: you will mutter "ugh, it me" and be immediately put off by the idea of having to tolerate an entire second layer of psychological hangups.

There is a third secret reaction though... you might think: oh, this looks a lot like Disco Elysium, but in the real world.

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I’ve said it before, I’ll say it again: running away is the best feeling in videogames. More specifically, being chased is the best feeling in videogames, a sentiment I’d happen to share with my golden retriever if you replaced the word “videogames” with “the universe”. He is a purer being, but he’ll also never know the joy of executing a rail-dismount into a dashing corner-jump escape in Deadlock, and for this he deserves our pity.

It’s easy to miss if you haven’t played for at least a few hours, but Deadlock packs one of the most engaging movement systems this side of Tribes Ascend.

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The gaming keyboard market is currently tripping over itself, trying to equip everything with the technology most commonly known as Snap Tap: a feature that promises hyperfast inputs of two alternating keypresses, making you an unkillable side-strafing blur in your FPS of choice. Introduced on Razer’s Huntsman V3 Pro series and quickly followed by Wooting’s (functionally distinct but effectively identical) Rappy Snappy, Snap Tap is now wearing multiple names as it takes over the world of RGB peripherals, from SteelSeries’ Rapid Tap to Corsair’s FlashTap and Keychron’s... Last Keystroke Prioritisation. Which doesn’t sound as sexy, but still.

However, Snap Tap is also drawing a level of ire that exceeds the usual baseline scepticism of hardware marketing. Because it enables a form of input automation – where you can quickly move in two directions by rapidly tapping one key, while holding down another – it’s considered by some as tantamount to cheating, allowing players to cross the line that divides unfair play from the accepted comforts that come with simply using a responsive Hall Effect keyboard or high-refresh-rate monitor. It’s even become a bannable offence in certain games, most notably in Counter-Strike 2.

Neither side is backing down; in an astonishingly worded tweet, Wooting went as far as to concede Snap Tap "should be considered cheating. But if it’s allowed, you need it." But do you?

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After nearly a year of public beta honing, the Nvidia App – Team Green’s new one-stop shop for desktop GPU management – is out in full. Not alongside the upcoming RTX 50 series, as rumoured, but right-now-today-this-minute. I’ve been testing out the launch version and while it’s not without some dud features, it does agreeably achieve its stated goal of combining the functions within Nvidia Control Panel and GeForce Experience. And if installing it means never having to use the latter again, well, that’s 149MB well spent.

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"A lot of puzzle games can leave you staring at the same static screen for ages, but here, I’m always pushing you forward," says Mark Brown of Game Maker’s Toolkit. For a decade now, Brown has been releasing accessible deep dives on game design for his popular YouTube channel, like "How Game Designers Protect Players From Themselves" and "The Two Types of Random in Game Design." This week, he’s releasing his own for the first time.

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My brain is still thawing for the comment freeze, and thus there is sadly no cool industry person to talk to us about books this week. I'm currently reading Tony Tulathimutte’s Rejection. Jia Tolentino wrote about it for the New Yorker. Jia Tolentino also writes very good books. But enough about books, tell me about books! One's you've read, preferably, but I will also accept books you've formed opinions on based on their covers, as is good and proper. Book for now!

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November 8th, 2005 was my first day as a full-time games journalist, which means I have now entered my 20th year of doing this. "This" has changed a lot over time: from producing CD and DVD coverdiscs, to writing for a magazine, to editing magazines and a website, to solely editing a website, to managing several websites. Sprinkle podcasts, videos, events and a lot of other things in there and "games journalist" doesn't really cover it.

One of the only constants is that I read a lot of writing about video games.

Dapper gent Oli Welsh wrote for Polygon about the fan reboot of City Of Heroes. We briefly covered fans getting an official license earlier this year, but Oli went and spoke to the folks making it all work.

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Alright everyone, let's put this new comments section through its paces. I want to hear deep and detailed roundups of everything you've been playing over the past two> weeks this time! We're gonna make our tech team weep. Here's what we're clicking on this weekend!

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"The cool thing about bombs is that you can hide them in anything," is probably my favourite Oppenheimer quote of all time, and in the case of Ian Hitman, it does raise an important question: with so many everyday objects equal to the rubber duck in its unthreatening aura, yet more inconspicuous, why choose to put an explosive in this one?

The simplest answer is that’s it’s a recurring bit of levity, a holdover easter egg, elevated to the status of key mission item in Hitman: Codename 47 before being given pride of place as an explosive in the World Of Assassination games. But to ascribe such unassuming purpose to the duck is to ignore its revelatory power. We must go deeper.

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Nostalgia, when you think about it, is bollocks. There has never been a better time than right this second – averaged out, and despite repeated attempts to the contrary, humanity has never been healthier, freer, or more enlightened by knowledge. It’s true of games too. For every by-committee platter of passionless map markers, there are thousands of more personal, more creative, more interesting works, all adding to the decades' worth of great stuff we can still play today.

What isn’t> bollocks is the emotional pull that nostalgia, for all its lack of cold, hard reason, still manages to wield inside our warm, squishy brains. Hence, the centrepiece of Apex Legends’ Season 23 update is a mode that recreates the battle royale FPS as it was back in 2019, defaulting back to the original map and weapon arsenal while cutting the 26-strong legend roster to the earliest ten. It’s a Fortnite-style rolling back of the clock, and a passably enjoyable one, but also a reminder that the good old days weren’t always that> good.

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