Unfortunately, the immediate cut to gameplay following this loading screen ruins the effect and feels disconnected. I was surprised by this effective mood-setting, utilising simply a load screen it promised a disturbing experience, something artistic and meaningful. An eerie industrial-horror soundtrack plays and the artwork undulates, as though maggots pulse beneath it. They are written in blood and splattered across a piece of grim, demonic artwork. The earth is also thirsty.” These words are the first thing you read after clicking ‘New Game: Campaign’. I hoped Postal Redux, being a remake of a classic 1997 title, was going to deliver on this depth. We’re fine playing as a psycho killer, but we want to know about the killer, why they’re doing what they’re doing, and what’s going through their heads. It’s an interactive art form. More and more we crave narrative and lore. That’s what distinguishes video-games from films and books, after all. Violence for the sake of it is not only morally questionable but also not that fun for the player, because players like to get involved with the story and world as much as possible. There’s just one problem: every attempt to resurrect this old-school genre seems to fail.Įarlier in the year Party Hard hit Xbox One and showed that meaningless violence is not actually that entertaining in and of itself. These games fulfil an important function: where once, in ancient days, we might have gone to the coliseum and watched horrifying bloodletting to get all the pent up rage out of our systems, now, we can do it virtually. The type where you get to suspend your moral existence for a magical couple of hours and experience catharsis as you hack, bludgeon, shoot and execute your way through the civilian populace. You know the type of game I’m talking about. There seems to have been several attempts in recent years to revive what I would describe as the “Massacre” genre of video games.
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