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This one most resembles the unfettered destruction of Crimsonland. Now comes Tesla vs Lovecraft, 10tons’ well deserved love letter to themselves. Next there’s Time Recoil, which was, well… Okay, look, they can’t all be winners. ![]() Which tools will you bring to bear? Which tools will you upgrade? Which challenges will you try to beat this time? Jydge is among my favorite twin-stick shooters for it’s discrete single-servings of laser-focused top-down violence. Dead in 30 seconds! Try one more time and this time you’ll get it! But unlike Hotline Miami, it’s all about your loadout. It’s like Hotline Miami’s quick violent outbursts. It’s comprised of discrete hand-made levels, each with several micro challenges that force you to mix up how you play and which upgrades you use. Jydge is a more focused game, using the Neon Chrome engine, destructibility, and cyberpunk aesthetic. Neon Chrome is among my favorite rogue-likes and action RPGs. Have I been to this part yet? If the furniture is shattered, the walls are shattered, the floors are charred, and blood is splattered everywhere, then, yes, I’ve been through here. The levels have the glorious destructibility that reminds you when you’ve been through an area. It’s a crawl, something stealthily, through cyberpunk dungeons. ![]() Between permadeaths, you pour money into improved attributes. You’ll find new weapons and abilities which get shuffled into the random loot. Neon Chrome is a full-fledged action RPG rogue-like with lots of advancement as you play. Since Crimsonland, they’ve reined it in a bit, gotten more numbers-oriented, more meticulous, with an emphasis on advancement, both in the twin-stickery and between the twin-stickery. I’m pretty sure Crimsonland explored all of them, as well as a few that had never occurred to me. There are only so many ways you can make stuff blow up. Their original, Crimsonland, was a balls-to-the-wall swarm management game with crazily over-powered power-ups that were crazy and powerful and overpowered and sometimes crazy. Using the basic vocabulary of pushing sticks around to shoot and move, 10tons made several distinct gameplay experiences over the years. With Tesla vs Lovecraft, they’ve gone back to their first love. Since then, they’ve done various workaday projects - anyone for a round of Sparkle 2 on the iPad? - but their heart is clearly in the top-down wholesale slaughter of innumerable dumb enemies. Continued abuse of our services will cause your IP address to be blocked indefinitely.10tons Ltd., an indie developer in Finland, has been making twin-stick shooters since 2003, when they released Crimsonland. Please fill out the CAPTCHA below and then click the button to indicate that you agree to these terms. If you wish to be unblocked, you must agree that you will take immediate steps to rectify this issue. If you do not understand what is causing this behavior, please contact us here. If you promise to stop (by clicking the Agree button below), we'll unblock your connection for now, but we will immediately re-block it if we detect additional bad behavior. Overusing our search engine with a very large number of searches in a very short amount of time.Using a badly configured (or badly written) browser add-on for blocking content.Running a "scraper" or "downloader" program that either does not identify itself or uses fake headers to elude detection.Using a script or add-on that scans GameFAQs for box and screen images (such as an emulator front-end), while overloading our search engine.There is no official GameFAQs app, and we do not support nor have any contact with the makers of these unofficial apps. ![]() Continued use of these apps may cause your IP to be blocked indefinitely. This triggers our anti-spambot measures, which are designed to stop automated systems from flooding the site with traffic. Some unofficial phone apps appear to be using GameFAQs as a back-end, but they do not behave like a real web browser does.Using GameFAQs regularly with these browsers can cause temporary and even permanent IP blocks due to these additional requests. If you are using Maxthon or Brave as a browser, or have installed the Ghostery add-on, you should know that these programs send extra traffic to our servers for every page on the site that you browse.The most common causes of this issue are: ![]() Your IP address has been temporarily blocked due to a large number of HTTP requests. ![]() This approach also seeps into the artists’ performances: notable examples include a Hanatarash set when the artists destroyed the venue with a bulldozer and the Gerogerigegege’s inclination towards sticking weiners in vacuum cleaners. While artists like CCCC, The Incapacitants, K2, Government Alpha, Killer Bug, and a host of others approach noise with their own idiosyncrasies, they all push this music to some invisible extreme, erring on the side of violently loud with an overwhelming visual aesthetic. And then, after 20-ish minutes, it stops with almost no warning.ĭig a little deeper past the all encompassing shadow of Merzbow and a whole host of distortion-obsessed musicians await. ![]() At all times, at least one layer of distortion is shifting or morphing or dropping out or blasting in at full volume. Pummeling and aggressive throughout, the sounds on this album never seem to sit in one place. While it’s hard to pick one release or track that defines Merzbow’s sound (since the guy has covered so much ground in the literal hundreds of albums he has recorded), the Artificial Invagination EP does a pretty good job of representing the hash dynamics of his early work. And the undisputed king of this scene (at least in terms of name recognition) is Merzbow, the stage name of Masami Akita. and solidified these disparate artists into a scene. A handful of albums on Release Entertainment, a sub label of Relapse Records, jump-started interest in the genre in the U.S. Although the musicians within this scene were spread across the country and had little to no contact with each other in the beginning, they shared a common approach to dissonance, overwhelming volume/dynamic shifts, electronics, and extremity. The term “Japanoise” seems to have largely fallen out of use, but you can’t even begin to think about noise music without considering the Japanese noise scene of the late 80s and early 90s. ![]() Disagreeing in the comments is strongly encouraged. Here is my best attempt at documenting the contemporary noise scene. I’ll start this guided tour by touching on a few of the historical roots of the genre, then try to show the subgenres and approaches that folks in the noise scene commonly recognize, and then finish by inventing a few categories for the misfits out there who I really enjoy. scene), but hopefully this primer can initiate a few folks who are interested in noise but have no idea where to start. ![]() There will be a lot of bias in terms of my own history with the genre (I’m far more interested in the aggressive/loud/harsh part of the noise music spectrum) and my specific circumstances (I live in the U.S., specifically Milwaukee, so I’m far more acquainted with the U.S. At this point, it should probably go without saying that this list is in absolutely no way exhaustive. The following is my attempt to sketch out the contemporary noise scene and (very briefly) link this cultural space to a few foundational historical scenes and moments. Both, by definition, are constantly and unendingly regenerating. And since that noise comes from an infinite number of contexts, it’s impossible to map the history of noise music, or even to document the entire contemporary noise scene. Noise music, therefore, comes from artists purposefully activating that noise. Vinyl pops and scratches, for example, become noisy if what you want to hear is the recordings on that record. According to Novak, noise comes from the circulation of cultural ideas and artifacts, emerging from the accumulated meaningless debris that accompanies all forms of communication. If you agree with David Novak, the author of Japanoise: Music at the Edge of Circulation, then you probably believe that writing a history of noise music is inherently impossible. ![]() It can be increased through means such as assigning extra engineers to maintenance, but is generally used to avoid players feeling the need to respond to every situation ever. 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One point of the game is the doom counter DEFCON system, representing the loss condition. The following information comes from this thread on the Xenonauts forums, which is generally accurate but subject to change as development isn't yet complete. The combat side this time around is rendered in full 3d, rather than 2d like the first Xenonauts. ![]() It's focused around more of a "shadow war" between the Xenonauts and aliens to reinforce cold war paranoia, and takes place immediately after the Xenonauts lose their main ground base to an alien attack and are forced to evacuate to a hidden base in Iceland. In terms of setting, it's similar to but quite different than the first game: it's a alternate timeline where, thanks to subtle alien interference, the cold war continues to modern day where the game is set. Xenonauts 2 is, well, it's the sequel to Xenonauts 1 the fairly successful spiritual successor to X-COM UFO Defense taking a more traditionalist approach versus other more radical interpretations of the time, such as the Firaxis-developed XCOM. I can always lock this if it's deemed unnecessary.) Everyone has got one and every one of them is RIGHT for the holder of that opinion.(Made to avoid necroing the other Xenonauts 2 topic from ~2017 and so I can update this as things change. Prevents issues if you are ambushed.īut I have found it completely depends on how you play as to what is right FOR YOU! Kind of like Opinions. 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