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We are extremely proud to present one of our most ambitious projects ever: ‘The Eternal Cylinder’. A completely original take on the survival / adventure genre - with this project we can do one of our favorite things; Create a new surreal world to explore!

Sign up to be eligible for the upcoming closed Beta:

Follow @theACETeam or @GoodShepherdEnt on Twitter for more news about the game.

In The Eternal Cylinder, players control a herd of adorable creatures called Trebhums and must explore a strange alien world filled with exotic lifeforms, surreal environments, and the constant threat of the Cylinder, a gargantuan rolling structure of ancient origin which crushes everything in its path. This unique ecosystem is a massive, procedurally generated land with unique animal AI, real-time world destruction, and organic exploration and puzzle design to create emergent gameplay that ensures no two playthroughs are ever the same.

Your Trebhums begin at the bottom of the natural food chain but can mutate and evolve with new physical attributes and abilities by eating a variety of flora and fauna. Discover and adapt dozens of mutations, including new traversal skills like flying and swimming to reach new areas, and new senses to help overcome puzzles, challenges and dangers. Your many Trebhums can each have different mutations, and new mutations don’t replace ones you already have, letting you stack ability sets in dynamic ways. Each mutation will also change the physical look of a Trebhum and stacking these will generate near countless surprising new creature designs which players will be able to organically discover as they explore this unique alien ecosystem.


can I get some of whatever ace team is having

they just turned around and made spore in 2019


also in less interesting news

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I will keep buying these forever


oh, so they did end up jumping on that concept video from a few years back!

Evolution themes are my favorite things and I still run through Cubivore every couple years, I’m so excited. I don’t think I’ve actually liked anything Ace Team since Zeno Clash, Rock of Ages just doesn’t work for me as I respect it.

Whoever’s doing their sidescrollers, though – they’ve never felt like more than Subspace Emissary, just as floaty and misapplied.


yeah the sidescrollers are always like “huh, someone made this!”

they’re not great generally, but they sure keep coming out and they’re usually made with a lot of enthusiasm

I can’t get enough rolling though.


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Bubble Bobble not letting you get the true ending without playing 2 player was something I thought was cute as a kid but would make me type out strongly worded message board posts today.


“games are the new literary frontier” says a classics ph.d

and then cites red dead redemption 2 as an example of how games will colonize literature



I keep trying to stop ranting about this article and this dipshit’s whole project on twitter but I cannot stop myself.


Suddenly I’m conscious of where I am and what I’m doing in this game, and blithe entertainment turns to mild disappointment then dull acceptance. Basically, when I began work as a critic, I believed (and advocated) that the most ludicrous videogame genre could be elevated by the appearance of social or political personalities; an industry and creative environment that encouraged videogames to opinionate on our world directly, and experiment with idiosyncratic, tendentious styles and stories, would mean that something as historically banal as the first-person shooter could become fascinating. Now, at the end of my critical career, I’m resigned to the belief, evident in a game like Wolfenstein: Youngblood , that mere apparentness of “social or political personality” is not enough to make any videogame worthwhile. The insipidness of the big-budget game, as it exists today, as it’s been cultivated into existence by the last 25 years of videogame culture, cannot, as I once thought, be redeemed by political, satirical, or didactical intent—a bland shooting game that parodies contemporary facism remains a bland shooting game, or put another way, it’s not just the stories and writing (or lack of) that make most videogames feel redundant to me, it’s the mechanics as well. I don’t belong on the zeppelin any more.

Probably not to the same existential depth, but the makers of Youngblood appear to be conscious of this as well, that their once successful mix of usual-for-videogames shooting mechanics with unusual-for-videogames political argument has lost its potency. When developing Wolfenstein: The New Order, prior to its release in 2014, Nazism of the world-ruling kind that the game portrayed, must have been to game designers an inspirational convenience, serious and literarily-impactful enough that its abstraction could lend a first-person shooter sophistication and artistic credibility, but also historically-distant enough that its real implications and genuine nature could be either abbreviated or avoided completely, in favour of spending both development and play time on familiar game mechanics. Today, however, when political events have transpired in the way that you all know that they have, it’s telling how Youngblood either bypasses, diminishes, or dissolves the Nazi question. By the in-universe time the game begins, Nazi-occupied America has been liberated, Hitler has been killed, and the Third Reich is in its final throes, struggling to hold onto Europe; implying that it might be possible to undo everything that has happened within the Wolfenstein world, BJ Blaskowicz, father to Zofia and Jessie, has discovered an alternate dimension—our own—where the Nazis lost the Second World War, and is trying to re-open its entrance; owing to another off-screen contrivance, it’s repeatedly implied that rather than the Nazis, the largest threat to the planet now is its mysteriously-erratic weather patterns and rising temperature, thereby introducing a replacement, unambiguously-frightful villain in the form of climate change.

In a similar sense that I have given up believing that a videogame made in the mechanical tradition of popular videogames can credibly sustain any intellectual worth, whether they realise it or not, Wolfenstein ’s makers, MachineGames and co-creator Arkane Studios, have given up believing they can use their work to satirise our contemporary world articulately: now that fascism and Nazism are more relevant, more divisive, more consequential, and more complex—now they’re actually happening, and affecting people in a way that means representing them through shooting mechanics would be diminutive and insulting—MachineGames and Arkane, in Youngblood , are trying to disguise or erase their Nazis along with any related discussion or analogy. The reaction seems almost directly correlative: the more that Nazis and their politics matter in and to reality, the less they seem to matter in and to this videogame.


ah geez I had this open in a tab but didn’t get a chance to read it so I’m DOING IT NOW


The combo of silly blobby alien goofoes with deeply Cinematic serious bgm and voiceover is making my day


oh my god why are there so many good fucking games this year please everyone slow your roll

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yeah it’s fucked up

and it feels like half the ones i want to play are literally 500 hours long

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I hope it was a real short critical career, for their sake


Frothing intensifies

Mixed with a bit of worry these levels will be too hard for me


“frothing, yet concerned” is pretty much my dog’s default emotion


woah, that new art is uh… real fucking bad