journey to the savage planet sealed door

Hidden on the levels are posters and mutators where if you obtain them all and get hi-scores and not die, you’re rewarded with numerous modifiers to make the game even more mental. My strategy would switch from run and gun to take everything out, but while that method allows for freedom to explore, if you die, guess what? Still, there’s another incentive to killing ’em all (which is so much fun that I need to book a psychiatrist appointment just as a precaution), and that’s the unlockables. This was the most frustrating element about Radio Viscera, as you can find yourself overwhelmed.

Setting up these deaths is a hell of a lot of fun, but the downside is you can die too, and when you die, the multiplier and whatever objective you were engaged with resets. As a twin-stick shooter, you can multitask the action with that mindset of keep moving to your goal or hanging around and building your multiplier up with some carnage. It was alright with the mouse and keyboard, but assuming it’s down to dexterity, I switched to a controller, and it was miles better. Good luck with controlling the streams on that one. It had that same awe about the latter, too “you mean I can blow this up and even write my name in it?”. Retro fans may also draw slight comparisons to Escape From The Planet Of The Robot Monsters in terms of design with a hint of Journey To The Savage Planet, but with the original Red Faction’s wanton destruction. While a linear death run, it’s a creative process where the environmental hazards are your canvas.

On many occasions, depending on the enemy type, you’ll be blasting them against the wall, pushing them through to set up a mini-golf-like shot into a big spray of digital claret, a.k.a. Anytime you see a bland concrete wall, you can shoot multiple entry points allowing you to storm through. I couldn’t care less about cliches, but Radio Viscera is a literal blast. Oh, and you can clear a path by blasting walls too. Not those poncy little pellet guns that your mate Daryl with the mullet says he got off a Navy Seal, but a device that can hurl enemies through walls, into traps, and redirect henchman traffic into some evidence-eliminating toxic waste. Radio Viscera is a top-down isometric viewpoint where you control your little scientist/engineer type with their absolutely wicked air cannon. It transpires that there is a bug in the system, and besides getting to safety, who says causing a bit of creative destruction shouldn’t be on the cards? If you’re one of those who thinks they think out of the box, you too will be caught up in the Y2K bug’s deception as you experience your first death. Still, according to protocol, your suit has been infected, and it’s suggested that you dunk yourself in some acid. Planted in an industrial area void of any evident life, you return to the airlock to get washed, trimmed and debriefed. Mad right? The tone in Radio Viscera is set almost immediately. Based on the infamous Y2K bug that destroyed the world in 2000 (if you weren’t born, nothing happened other than the odd calendar reminder to call your mum mysteriously disappearing), you have to make your way to safety whilst determining the fate of the satanic Y2K cultists. That’s not exactly what Radio Viscera says on the tin, as there is a plot.

Radio Viscera is about dissecting your environment with your gun and being creative with your death set-pieces. The sandbox comparison is more on par with the real-life counterpart of mayhem, innovation and downright fun associated with it. Crowns and Pawns: Kingdom of Deceit – A New Franchise?

Journey to the savage planet sealed door