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imaginariumpod · 4 years ago

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A Tapestry of Lace and Silk : the visual aesthetic and costume design of Crimson Peak (2015)

In the dark corners of an ancient mansion, you hear the rustle of a long dress on the floor, there behind a closed door, lies some ghosts and secrets that should never be unearthed.

A woman walks in the silence.

Crimson Peak (2015) is a movie directed by Guillermo Del Toro, and is one of the most obvious mainstream examples of the gothic romance in cinema in the recent years. With a story full of ghosts, a secret, a haunted house and of visuals directly inspired by the mid-century gothic romance book covers. This movie is visually highly stylized and immersive in a way I think a lot of filmmakers and studios tend to shy away from.

While Guillermo Del Toro’s movies tend to always be very stylized and visually cohesive, Crimson Peak is truly the one, in my opinion, where the production design was at its most compelling and beautiful. To me, it’s obvious how much care and attention has been given to even the slightest of details, to create the perfect visual identity for this film. I have read once that the gothic was very decorative, as a genre. From the dark mansions, and the flowing nightgowns to the flickering lights of the candles and the creaking floors. The ~aesthetic~ is something that is very important to a gothic romance story. It’s all in the atmosphere, as well as some important elements of the story in itself, that make a gothic romance. Gothic Romance is a genre that you have to lean into, and Guillermo Del Toro perfectly understood it when it came to Crimson Peak.

Before we go more into it, i just want to warn you all that there’s probably going to be spoilers in this article. I will try my best to avoid being overly blatant about what happens in the story in itself, because that is not my focus. My focus during this article will be on the production design of the movie, the way this movie looks and has been designed, especially when it comes to the costumes and the outfits the characters wear throughout the movie. I mostly want to go deep into the visual aesthetic of this film, from the decors and visual themes to the dresses and outfits that were created for this story. I want to talk about the visual aspect of the movie and how it translates within the genre of gothic and the medium of filmmaking.

Guillermo Del Toro : the cineast

Guilerrmo del Toro is a mexican director mostly known for having a very distinct style of dark fantastical movies often featuring monsters, myths, the folklore and fairytales. His movies alternate between being made in spanish or english. His stories and movies often explore the dark side of the fantastical, of fairy tales and stories told after the dark. and yet. they have a hopeful side to them .

While a lot of his movies were successful, I do think it’s El Laberinto del fauno (2006) (Pan’s Labyrinth) that really established him as a thriving filmmaker, despite how niche a lot of his movies and stories are. Which, by the way, as a quick aside, Pan’s Labyrinth is a very formative movie to me, I watched the year it came out, when I was 11 years old, my dad brought the DVD home, thinking it was a movie for children. And well. It was not. I ended up being TERRIFIED and yet mesmerized and this was my first contact with Guillermo Del Toro as a filmmaker but it certainly wouldn’t be the last. His movies are crystallized in my memory, and they awakened in me a love of this more gothic and fairy-tale inspired horror. He's definitely a movie director that brings his unique touch to whichever work he’s doing.

The Gothic is a very prominent part of Del Toro’s work, which he calls Gothick (and is indeed a word that represents the genre that got started by Horace Walpole’s book The Castle of Otranto in 1764) and he describes the relationship he has with this genre as “a way to discover beauty in the monstrous” The protagonists of Del Toro movies often embrace the darkness that exists around them and within themselves. For Del Toro, the gothic is the “only genre that teaches [us] to understand otherness.” You can see it in the narrative of so many of his movies, which culminates in The Shape of The Water, where the monster ends up being the victim of society, and the real monster is the character of Michael Shannon, who represents the pressure of society, the norms and accepted and what can happen if you deviate from what is accepted.

The narratives of Del Toro’s movies reject authorianism in any shape or form, whether the societal authorianism or the narrative ones, and this makes for a way of storytelling that often turns around all expected tropes.His movies are, at their core, anti-fascist and, in my very humble opinion, very relevant during our current political climate on an global level. I really do not feel like I am the right person to dive deep into this subject in a small article on the visual aesthetic of one of Del Toro’s movies, but I want to recommend the thesis The Dark Fantastic of Guillermo Del Toro : Myth, Fascism, and theopolitical Imagination in Cronos, The Devil’s Backbone, and Pan’s Labyrinth by Morgaan Sinclair. That thesis is widely informative and interesting to read and will probably dive deeper in those themes that are always somewhat present in every Del Toro movie.

He loves using “typical” genre stories and making them his own. From folk tales, fairy tales, vampire stories, legends, he uses these narrative motifs as a template for his stories, but he always subverts them in one way or another, exploring the darkness within. And this is what he also did with Crimson Peak, but now with the gothic romance genre as his template. Gothic Romance is one of those genres that is very formulaic in some ways, it has very common tropes and themes that are often used. For example, the way he explores the gothic house and its entire symbolism in his early movie The Devil’s Backbone (2001).

[These old-Gothic notions insinuate themselves in the Gothick terrain of del Toro’s films. The Devil’s Backbone, a ghost story set in a remote orphanage during the Spanish Civil War, seems at first glance to be a classic Gothick romance, which, as del Toro reminds us in his commentary, focuses on the house, the domicile, as an emblem and warped container of the human self. This symbolically charged structure, he says, always conceals a “dark secret,” linked to a treasure and deep passions, “that is buried in the past and affects the people living in it.” At the center of the darkness stands “a very pure hero—a new set of eyes to explore the secret and through the purity of his heart unravel the mystery.”]

When it comes to his films, Del Toro tends to often use archetypes as a way to effectively communicate certain concepts, but more often than not, he will turn these archetypes upside down. Del Toro tends to also use a lot of symbols in his movies, weaving a tapestry of overarching themes and meaning. He gives depth to his stories by a use of various artistic and literary references, historical references. building a story that contains layers upon layers. This depth also translates to the visual aspect of his movies, as Del Toro movies tend to be carefully and precisely crafted. The aesthetic is, as one might say, on point. From the somber and fantastical creativity of Pan’s Labyrinth to the epic and vibrants colors of Pacific Rim. Crimson Peak is, to me, one of the most visually beautiful and compelling movies of Del Toro, and this is what we’re going to get into a bit later.

A ghost story:

This story starts at the end. This is a narrative device Del Toro also used with Pan’s Labyrinth, the movie starts with the final scene, and we know that something terrible is going to happen, and it just keeps the tension and stakes high during the entirety of the movie, as we keep wondering when things will take a turn for the worse.

We can see Edith Cushing (Mia Wasikowska ) wearing her white nightgown, in a scene of fog and piercing white. Her blond hair is flowing down on her shoulders, her face is pale, and her hands.

Her hands are drenched in blood.

The first sentence of the movie is then spoken : “Ghosts are real. This much I know.” This immediately sets the tone for the rest of the movie.

And then. It goes back to the beginning, when she was just a young child, at the moment her mother died, when the ghost of her mother, veiled in black lace, came to warn her, to beware of Crimson Peak…

Edith Cushing is a young woman living with her father and who dreams of becoming a writer. She keeps trying to publish her story, not a ghost story, but moreso a story with a ghost in it. “The ghost is a metaphor” she says. A metaphor for the past and for regrets and violence that still permeates a place. She then meets Thomas Sharpe (Tom Hiddleston), an english baronet without fortune, and his sister Lucille (Jessica Chastain). After the sudden (and suspicious) death of her father, she marries Thomas and follows him and his sister back to England, in their strange mansion that stands isolated in the midst of english hills, atop a source of red clay. The Sharpes are an aristocratic family with no fortune and a decrepit mansion where strange things happen, where ghosts roam.

There’s also a social commentary here on the changing social norms and social classes. While the Sharpes are an aristocratic family, owning land and a title, they are not rich. Their clothes are good quality, made from good materials and hand crafted, but they are also old and not of the current fashion. They are in a very strange place socially, being higher up on the social class and yet, being broke and trying to figure out how to get money to take care of their crumbling estate.

Ghosts are real, we need to remember, and are a reminder of what has been forgotten and what has died. The past is still lingering on in the present, and violence of the past will not go unpunished. The ghosts of Crimson Peak are terrifying. I do not want to say much about them, because it would reveal too much about the plot and the story, but I want to talk about them in terms of visual design. The ghosts of Crimson Peak are terrifying, they are skeleton-like, and red. Vibrant red. They are nothing like I have ever seen before in terms of ghosts, and this is yet another way Crimson Peak sets itself apart from other movies.

Lucille says something at the end of the movie, and I will not say anything about the plot, so fear not for spoilers, she says “but the horror… the horror was for love” and I do think it says so much about the movie and about the genre. Gothic romance is not really a love story, but it’s not strictly a horror story either. It’s a blend of love and horror. And sometimes… the horror, the horror will be for the sake of love.

The building of a haunted house

Production design, when it comes to movies, relates to everything that has to do with the visual identity of the movie. The look and the stylistic choices that are made to make the movie look the way it does. From the costumes, to the sets, to the decor, and all the small details, production design is one of the most important parts of constructing a movie. It’s those elements that make out how the movie will look and what it will communicate to its audience.

The production designer works on all the aspects that pertains to the visuals of the movies, along with the director of photography. They manage everything from the costume, the sets and the decor. And they work closely with the director to craft the visual identity of the movie. Guillermo Del Toro always draws from a very vast range of thematic and visual inspirations when it comes to his movies : from gothic architecture, symbolist art, the surrealists, but also more popular inspirations such as comic books and even video games. So many of these elements are brought and matched to visually create a layered look to the film.

The visual storytelling, the ambiance, the atmosphere, all of these elements are a huge part of what makes Crimson Peak truly interesting. The visuals of the movies were not an afterthought to the script, but were an integral part of how the movie was constructed. Under the directives of Guilermo Del Toro, Thomas E. Sanders [Dracula (1992) ; Braveheart (1995)] constructed an intricate and vibrant appearance for Crimson Peak, which I think is one of the most memorable components of the film.

This movie takes the canons of gothic horror and gothic romance and embraces them, whether it is narratively speaking or visually speaking. I always love a story that leans heavily into its genre and its tropes and convention, only to make use of them in a different and new way. I can mention The Man From U.N.C.L.E. (2015) as another movie who embraces its genre, here the corny 1960s inspired spy movie, and just GOES WITH IT. I do so much appreciate when any type of storyteller and artist fully work within the genre and then try to expand the boundaries of that specific genre, all the while trying to create a work that is definitely recognizable as a certain genre.

As I said, the visuals are obviously very much inspired by the canons of gothic romance, whether it's the illustrations that were in the book of the 19th century, as well as all the historical inspirations from the late 19th century in which the movie is set. There’s also the obvious references to the book covers of the gothic paperbacks of the mid 20th century, with their jewel tones, and their heroines escaping a dark and looming manor behind them. Or sometimes, she is exploring the dark winding corridors, with only the help of a few candles lighting her way.

There’s this dichotomy that sometimes occurs when it comes to movies, of style over substance or vice versa. Which to me is a moot and useless point, because style is a form of storytelling as well. The way you construct the visuals of the movies, the decors and the costumes, and the way the film is shot, all of this is a way of telling a story and is as essential to a good movie. Even a movie that doesn’t put the emphasis on “style” also makes a visual choice. Not focusing on the visual elements such as the costumes, or the decor, is also a stylistic choice in itself. Even if the choice is to make the movie devoid of any outlandish visual assets. Taking these decisions are what ultimately make the movie be the way it is visually. A film is a visual form of storytelling,

When it comes to the sets, the movie is set mostly in two diametrically opposed houses, the airy and light house of the Cushings in Buffalo, homey and comfortable, and the cold gothic estate of the Sharpes : Allerdale Hall. Where the house in Bufallo was full of light and a warm color palette, Allerdale Hall is the opposite. That house is the typical gothic mansion, and one of the most important elements of any good gothic romance. Imposing, dark, with twisting corridors and actually decaying above them. Visually, it’s also distinctive with the colder colors that are used when filming there. It’s the ideal setting for the gothic romance story to happen. Sanders says that the only reference that he was given by Del Toro for the design of this house was the painting House by the Railroad (1925) by Edward Hopper. This painting was the beginning of a very long and arduous process as Sanders tried to create this perfect haunted house.

The house of the Sharpes, is atop a source of red clay, hence its name. It’s decrepit, falling apart, cold. “colder inside than out” says Edith when she first enters it. The house is slowly but surely sinking in the red clay that once used to be the source of the Sharpes’ fortune. Visually, it looks as if the house was bleeding, as if the house was alive. As Sanders says during an interview with Slate :

“We felt that the clay is the blood of the earth, and it’s also the blood of the house, and that the house was a living thing that embodied the family over all those years.”

Within the genre of gothic horror and gothic romance, the house plays a very peculiar part. Whether it is haunted or not, the house is very much often an important character of the gothic story, on the same level as the heroine or the antagonist or the ghost. The spaces of Allerdale Hale are tight and menacing, the house is full of dangerous sharp angles. This is not a warm house. Del Toro said that he repeated the wooden pattern on the columns three or four times, so that it looks slightly out of focus, like something is wrong, but you cannot pinpoint what it is, exactly.

Allerdale Hall is thus the perfect setting for this gothic romance to unfold, through the sharp and twisting corridors, with the gaping hole in the ceiling through which the snow falls and covers the red crimson blood of the house.

A nightgown to explore strange corridors at night:

The main costume designer for this film was Costume Designer Kate Hawley, assisted by Cori Burchell. Even though they hadn’t worked specifically on period movies and historical movies or more fantastical movies prior to their job on Crimson Peak, I cannot help but think that they did a marvelous job when it came to the costume design for this particular movie. Hawley had previously worked on Pacific Rim with Del Toro, so she was familiar with the way he worked and envisioned things. Together, they truly created a wardrobe that was absolutely wonderful for the movie of Crimson Peak. Highly stylized. Imbued with the fashion and artistic trends of the era, without being exactly Literal to the clothing of the time. She used costume design as a vehicle to communicate ideas and moods that were intrinsical to the characters of the story.

Hawley worked closely with Del Toro to create the costumes that would be perfect to convey the personality of the characters and would help build the depth of the movie. In her interview with digital magazine JEZEBEL, she says that she definitely considers Crimson Peak to feel like an opera, a piece of music in which there’s two distinct acts, and so the costuming had to also follow those two distinct acts and those two distinct worlds that the characters inhabit. From the color scheme and mood, to the details of the historical period. But most importantly, especially for a Guillermo Del Toro movie, it was vital for Hawley to look at it thematically first. Del Toro movies are always chock full of references to art, folklore and literature, and there is no surprise that the costume design should follow the same direction.

The costumes are an important narrative device as well, the clothing a character wears reflects their personality as well as their narrative journey. It can inform on the status of the character, their place in society, it’s an effective tool of storytelling. A good costume designer will use the wardrobe of each character to say something about the character in themselves but also create a cohesive visual look for the ensemble. From the colors to the chosen fashion style and to the accessories, fashion is a silent mode of communication that we all inherently understand, even if not on a conscious level. The wardrobe of each different character is thought and designed, to fit the character but the movie as a whole.

As our queen and icon, legendary costume designer and winner of eight separate academy awards for costume design, Edith Head says : “Fashion is not the primary thing, the primary effort in motion pictures is to tell a story”. And clothing do tell a story, whether or not you think they do. This is comes back to what I was saying earlier, that sometimes, people tend to not put any sort of importance on the clothing, considering it shallow and superficial, but I would argue that it’s a very subtle way of storytelling that says more about the character in a single outfit than a whole scene of exposition ever could.

Edith’s clothes are all very modern and current to the era the movie is set in (ie. 1901) The silhouette of all the clothes she wears are very much within the fashionable silhouette of the era, with the gigantic sleeves, and the cinched waist and slightly flare-y skirt. All of the dresses she wears throughout the movie have the leg-of-mutton sleeves that were so fashionable during the late 1890s and early 1900s. The color palette of Edith’s clothes is very much within a very soft and warm-toned palette, with a lot of soft yellows, ivories, creams, mustards and golds. this very much visually set her apart from the Sharpes. Hawley says she imagined Edith as a canary in a coal mine, her vibrant yellows and gold outfits in the dark and somber walls of Allerdale Hall. Hawley and Del Toro also used a pre-raphaelite portrait of Helen of Troy by Dante Gabriel Rossetti (1863) as a visual basis to work on Edith’s aesthetic.

She’s a down to earth woman who is ready to make efforts and her dresses reflect this aspect of her personality, they are comfortable and practical, while still having that air of whimsy to them. From the gigantic buttons on her honey colored dress or the beautifully eccentric belt in the shape of hands. Kate Hawley, the movie’s costume designer, says that this belt is just an upscaled version of the small mourning jewelry in which a lock of hair of a loved one who passed away can be found in. “I took these little earrings, these little ivory hands, and we scaled them up so it was almost like a mother's hands clasped around her waist”. (I so desperately want a belt like that btw, it is creepy but i still want it, if any of you happen to find one, please do contact me, thank you so very much.) She matches her hat and gloves with her ensemble, and generally, Edith, is just very visually cohesive and coherent within her own style.

During a very romantically and sensually charged scene, she wears a beautiful evening gown in ivory satin and ornamented with pearls. She enters the room dressed in this lovely dress and a long satin cape of the same color and a pleated collar, her hair delicately swept up. This is Edith’s very own dramatic moment, where she gets to dance with her romantic lead and wears an outfit that is a bit fancier than her usual fare. This dress is still within the very soft and pale color palette that represents Edith. This particular dress is visibly inspired by a painting of the italian artist Giovanni Boldini : The Black Sash (1905), which furthers the fact that this movie’s visual aesthetic is deeper than what first meets the eye. From the delicate color and stark black ribbon down her back.

Edith, though, is our ingenue heroine of the gothic romance. One of the main archetypes in the gothic romance is the innocent heroine, a young woman thrown into a situation that’s claustrophobic, scary and dangerous. In every gothic romance, there comes a moment where the heroine leaves her bed in her nightgown, it’s a very striking visual that is the mark of the way we visualize gothic romance. She holds a candle, wearing only the lightest of clothing, and goes to explore the darkness within the walls she inhabits. Her nightgown ends up being the most significant outfit of the whole movie, it truly marks her as a gothic romance heroine, while she roams the corridors at night.

«I’ve never done so many nighties and nightgowns! It’s all about running around in night dresses through long corridors. That also blended to the fabric. When Guillermo said to me, “It’s about a house that breathes,” that’s why we chose the lightest fabric, just a little thing to try and help the storytelling with the idea of the house.»

Edith’s nightgown is striking, the movement of the heavily pleated garment fills the whole screen whenever she moves, it gives her a certain elegance and follows the cohesive silhouette and color palette that was established for her thus far, with its gigantic sleeves and the soft warm and earthy colors of the dressing gown she wears over her nightgown, as she goes down the dark stairs of Allerdale Hall.

Where Edith is the innocent ingenue, Lucille is the woman hardened by life and misfortunes. She is all sharp angles and contrasts, where Edith is soft and kind, with a seamless color palette. Lucille’s outfits are stuck twenty years in the past and this is very much a narrative device and tool that’s used through the usage of dress and costume design. By showing her in these lavish but old-fashioned dresses. it serves both the purpose of showing how rich and noble the family of the Sharpes is but also, it effectively communicates how they do not have the means to actually follow the current fashionable trends. It shows that Lucille is not one to want to have something of lower quality or cheaper than she thinks her standing deserves. Lucille is a woman that is stuck in the past and is not truly living in the current times. I think that even though these details often necessitate a basic knowledge of the dress silhouettes of the late 19th century and early 20th century, this tactic still visually works because it sets Lucille apart from the rest of the world. It expresses visually how she and her brother are distanced from the world outside.

Her dresses and outfits are dramatic and striking, with the sharp silhouette of the 1880s, with the bustles. The colors of her dresses are always in deep tones, like reds, blues or black. The colors are very rich and vivid. The first dress that we see Lucille wearing is the beautiful red dress during the scene where she plays piano. A silhouette typical of the 1880s with the bustles and the very extravagant detailing. That one dress is a striking red, with a skirt that has a long train. The one very important design detailing is the back of the dress, replicating a spine of sorts in the middle of her back. Those sharp angles forebode a sense of danger that is conveyed strictly through the construction of the dress, and the arrangement of the textiles, the various shades of red fabric intertwined to create this gorgeous pattern that goes down the skirt. Her hair is swept upward and decorated with fine red jewels, and the pale complexion of Jessica Chastain only make the whole ensemble more striking.

Compared to the two other components of the main trio, Thomas Sharpe’s outfits seem much more muted and sober. His clothes, same as his sister’s, are also too old to be fashionable, but made of high quality materials. The color palettes of his clothes are very dark and deep, with touches of deep blues and greens. When you transpose him into Allerdale Hall, he fits seamlessly within the decor, meanwhile he seemed out of space and out of time in the sunny and modern decor of Buffalo.

A desire for accuracy :

Historical accuracy is always a point of contention when it comes to movies set in a particular historical setting, in this case in the early years of the 1900s. And before we go any further, is historical accuracy even That important when it comes to an effective costume design ? I honestly think historically accurate costumes are very important when it comes to setting your movie. The visual immersion and world building when your story is set in a specific time and place, like for example, in this movie, set in Buffalo, United-States, and England, during the year of 1901, depends on these important elements, such as the costume design and the decor. Especially when a movie is not tending toward the fantastical. For this reason, I really do think that having period accurate costuming, design and makeup is incredibly important when it comes to immersion and creating a visually cohesive world.

Nonetheless, to me, this part of the costume design is less important than what the costume design says about the story and the characters. As I said earlier, costume design is a very subtle but powerful narrative and visual tool to use in filmmaking. And for this reason, I personally think it’s more important for a costume to be efficient when it comes to storytelling than to try to achieve perfect accuracy. Simply put, a costume designer is not someone whose aim is to recreate historical garments perfectly (if this is your jam, I follow a bunch of creators on youtube who actually do that, using historical sewing techniques as well). Their aim is to use the clothing for a storytelling purpose.

There is this thread by fashion historian and curator Hilary Davidson on the subject of ahistorical costume design and this is what she has to say about Crimson Peak:

“Kate Hawley's designs for Crimson Peak (2015) are immersed in artistic trends of the fin-de-siecle, making costumes that embody the period's aesthetic spirit without being completely literal”

When it comes to Crimson Peak, are the costumes historically accurate. For the case of Crimson Peak, the answer is yes and no, at the same time. More than creating historically accurate costumes, Hawley wanted to create an atmosphere, with dreamy costumes that would serve a narrative purpose, and use historical sources as a guideline and inspiration Liberties will often need to be taken to complement the story and to serve the purpose of storytelling nonetheless, I do think that the more researched and accurate the costuming is, the more complex and interesting it can be . and I do think it ended up being SO SO INTERESTING.

Costume design is more than simply making historically accurate costumes, a costume designer needs to know fashion history and fashion trends, but ultimately, their job is not to recreate exact replicas of the clothing of a certain historical period. What a good costume designer has to do, is to create a wardrobe that fits the story that is being told, and fits within the general universe it's set in and gives you information on the character. What Hawley did was to respect the silhouette of the period, from the foundation garments to the outer garments, and then, when it came to the actual costumes, she could play around with the details to convey a certain mood and narrative. The underpinnings always do define the general structure and shape of a garment, and it’s one of the most important elements when someone wants to construct a historically accurate costume. Even if, like Hawley, liberties are then taken when it comes to the actual clothing, the “spirit” of the clothes is respected. From the corsets and to the petticoats and all the subsequent layers, it was important for Hawley to have all of these elements in a historical accurate way, because it would change the posture and the demeanors of the actors. It shapes the way they stand and the way they move through the different spaces.

Visually, Crimson Peak is a masterpiece of a gothic romance. From the sweeping nightgowns to the imposing and sharp gothic mansions, and the scary ghosts behind the door, Del Toro and his team have created a movie that takes everything that is wonderful about gothic romance to the highest theatrical level, and I, for one, always enjoy this visual and cinematic experience.

#crimson peak #guillermo del toro #costume design #gothic #gothic romance #haunted house

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aion-rsa · 4 years ago

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Best Games to Play in 2021

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While 2020 was a landmark year for the gaming industry thanks to the release next-gen consoles and PC graphics cards, there are plenty of exciting new games coming in 2021. From highly-anticipated sequels like God of War: Ragnarok and Resident Evil Village to brand-new experiences such as Chorus and Deathloop, there’s plenty to look forward to this year.

To start the year off right, we’ve curated a list of the 2021 games we’re most excited about, including big AAA blockbusters as well as imaginative indie titles. Keep in mind that we’ve only included games that at the very least have a vague “2021” release window attached, which is why we’re not including games like The Legend of Zelda: Breath of the Wild sequel or Final Fantasy XVI. We’ll of course update this article as new 2021 titles are announced.

Here’s what you have to look forward to this year:

The Ascent

TBA | Neon Games | XSX, XBO, PC

The Ascent was originally planned as an Xbox Series X launch title before it slipped into 2021. A twin stick shooter at its core, The Ascent features a cover system as well as the ability to target high and low points on enemies, all in a destructible, open world cyberpunk setting. You can also fully customize your character with a variety augments.

Though Neon Games is a small studio, Epic Games was so impressed with early work on the title, that Neon was awarded a grant to help cover development costs. We’re really looking forward to this smaller take on the cyberpunk genre.

Axiom Verge 2

TBA | Thomas Happ Games | Switch

Metroidvanias from indie developers are a dime a dozen nowadays, but the original Axiom Verge stood out thanks to its tight controls, varied weapons, and compelling story. Axiom Verge 2 looks to largely be more of the same, but with even better graphics and more complex enemy patterns. The game has been in development for the past four years, but should finally be out in early 2021.

Balan Wonderworld

March 26 | Balan Company and Arzest | XSX, PS5, PS4, XBO, PC, Switch

Balan Wonderworld has positioned itself as a modern take on classic platformers of the 32-bit era. You’ll choose from one of two characters, exploring a variety of worlds mixing reality and imagination, but the real hook is the 80 different costumes that will unlock new abilities for your characters.

The game is being directed by Yuji Naka of Sonic the Hedgehog fame. And the trailer has already been favorably compared to his other seminal work, Nights into Dreams. Platformer fans won’t want to miss this one.

Back 4 Blood

June 22 | Turtle Rock Studios | XSX, PS5, PS4, XBO, PC

Valve may not have been able to get its act together to make a new Left 4 Dead game, but the developer behind the best-selling franchise has a spiritual successor in the works. Just like in Left 4 Dead, you’ll team up with three other players to take on waves of the undead in missions that change every time you play. There will also be a competitive 4v4 mode with one team taking the role of the zombies.

We went hands-on with the Back 4 Blood alpha, and so far, it does play a lot like Left 4 Dead with updated graphics, which isn’t a bad thing at all if you miss the classic horde shooter. The card system, which bestows interesting perks (and buffs) to players and zombies, does add a bit of variety to the usual formula that make this one a sleeper hit in the streaming world.

Bravely Default II

February 26 | Claytechworks | Switch

The first two Bravely Default games released on the 3DS were typical fantasy RPGs bolstered by their unique risk-reward battle system. Players could use brave points to stack up attacks for big damage, or default to save them up and take less damage in a turn. It kept those games fresh, even if they sometimes dragged on for too long.

Bravely Default II brings the series’ unique combat exclusively to the Switch for the first time. And true to its Final Fantasy inspirations, the characters and story will be completely original, so you don’t need any familiarity with the earlier games.

Chivalry 2

TBA | Torn Banner Studios | XSX, PS5, PS4, XBO, PC

Chivalry: Medieval Warfare was a huge multiplayer hit on the PC when it was released in 2012. Unfortunately, with lagging developer support, most of the community moved on to other games long ago. Now, Torn Banner is hoping to bring players back with the sequel, which boasts next-gen graphics, improved combat, and massive 64-player battles. Needless to say, Chivalry 2 could be the next big thing in multiplayer. The game is currently in Closed Alpha, so you might be able to check it out before release if you sign up here.

Chorus

TBA | Fishlabs | XSX, PS5, PS4, XBO, PC, Stadia

There’s been a serious lack of good third-person space combat shooters in recent years, but Chorus looks to rectify that. In this single-player game, you’ll play as Nara and her sentient ship Forsaken as they work together to track down the cult that created them in what Fishlabs is calling a “dark new universe.” It kind of looks like Goth Star Fox.

Unfortunately, we haven’t really seen anything more from Chorus since it was announced last summer. Hopefully, the radio silence ends soon.

CrossfireX

TBA | Smilegate Entertainment and Remedy Entertainment | XSX, XBO

CrossFire is a hugely popular tactical first-person shooter in China and South Korea, even though it’s barely made a mark in the West. Fortunately, Microsoft is bringing an updated version of the shooter exclusively to its consoles in hopes that it’ll catch on. Expect lots of tense, objective-based multiplayer action, and though the series isn’t known for its single-player, we’re looking forward to what Remedy can do with this mode hot on the heels of the excellent Control.

Like several of the titles on this list, CrossfireX was planned as a launch title for the Series X, but was delayed into 2021 due to development issues caused by the coronavirus pandemic. Let’s hope we don’t have to wait that much longer for this one.

Deathloop

May 21 | Arkane Studios | PS5, PC

What if you could combine the movie Groundhog Day with the Hitman series? It’s likely that no one had actually asked that question before Deathloop. You play as Colt, an assassin stuck in a time loop on an island in the midst of a party that resets every day. You have to eliminate eight targets before midnight and avoid dying yourself, or you’ll end up at the beginning of the loop again.

Deathloop also features a multiplayer component that allows players to jump into your game as an assassin named Julianna, who is tasked with taking Colt down before he can complete his mission. This PvP aspect should result in some very interesting playthroughs.

While Microsoft now owns Arkane as part of its purchase of ZeniMax Media and Bethesda Softworks, don’t expect Deathloop on the Xbox any time soon. It’s still launching exclusively on the PS5 and PC.

Disgaea 6: Defiance of Destiny

TBA | Nippon Ichi Software | Switch

After a couple of well-received remakes, the first new Disgaea title in more than five years should be out in 2021. This time around, the offbeat story focuses on Zed, a zombie who attempts to use something called “super reincarnation” to stop the seemingly invincible God of Destruction who is slowly destroying all worlds.

While both the PlayStation 4 and Switch are dialed in for Japanese releases in January, so far only a Switch version has been announced for the West.

Evil Dead: The Game

TBA | Boss Team Games and Saber Interactive | XSX, PS5, PS4, XBO, PC, Switch

The Evil Dead movies are considered all-time horror classics, but success has always eluded the franchise in the world of video games. But that could be about to change. Announced at The Game Awards, Evil Dead: The Game sees Ash and friends taking on waves of Deadites on several maps, including the iconic cabin in the woods. Gameplay appears to be similar to Saber’s previous adaptation, World War Z, which was a solid title that never quite seemed to find an audience.

Far Cry 6

TBA | Ubisoft | XSX, PS5, PS4, XBO, PC, Stadia, Luna

By now we all know what to expect from Far Cry: hop into a tropical paradise, blow up a bunch of outposts, and methodically take back the land from the big bad guy. After a detour into the American wilderness with Far Cry 5, the next entry in the series heads to Yara, a fictional Caribbean country heavily based on Cuba. And with Giancarlo Esposito of Breaking Bad and The Mandalorian fame playing the big bad El Presidente, you know we’re in for some especially awesome villainy.

Five Nights at Freddy’s: Security Breach

TBA | Steel Wool Studios | PS5, PS4, PC

The Five Nights at Freddy’s series has been terrorizing gamers for more than a half decade now, and Steel Wool Studio is looking to up the scares with the power of next-generation graphics. We don’t know how exactly the game will play yet, but the announcement video showcased a very cool looking shopping mall with an ‘80s motif. On the PS5 and PC, Security Breach will support real-time raytracing, so Freddy and the gang should look better than ever.

Ghosts ‘n Goblins Resurrection

February 25 | Capcom | Switch

After a lengthy absence, the crushingly difficult Ghosts ‘n Goblins series is just a few weeks away from a new release. The debut trailer from The Game Awards shows off the series’ classic 2D gameplay, with the knight Arthur fighting his way through hordes of familiar enemies. Of course, the new graphics look much better than the old NES and SNES games.

Start honing those classic platforming skills now, because if Resurrection is anything like the previous games, you’re going to die. A lot.

Ghostwire: Tokyo

TBA | Tango Gameworks | PS5, PC

Tango Gameworks has only released two titles to date: The Evil Within and its sequel. Anyone who played those games can tell you, the developers know horror. With a variety of deformed enemies and a mind-bending plot, The Evil Within titles are two of the scariest games of the last decade.

Ghostwire: Tokyo is a brand new IP that moves the action to the third-person. Instead of the typical firearms, you’ll be dispatching ghosts with psychic powers. Expect an exceedingly creepy experience regardless.

God of War: Ragnarok

TBA | SIE Santa Monica Studio | PS5

Sony has said almost nothing about the next God of War game except that it’s coming next year. One thing we do know is that Ragnarok is the mythical battle leading to the death of the Norse gods. With Kratos’ history of deicide, it only makes sense that he’ll be killing a whole lot of them in the next game. The previous title also hinted at a showdown with Thor, the god of thunder (no, not the Marvel guy), which should be pretty epic.

Gotham Knights

TBA | WB Games Montreal | XSX, PS5, PS4, XBO, PC

Batman is finally returning to PC and consoles in 2021, or rather, his sidekicks are in Gotham Knights. With Batman and Commissioner Gordon apparently dead, it’s up to Nightwing, Batgirl, Robin, and Red Hood to clean up the streets of Gotham. The entire campaign can be played solo or in two player co-op, with each player able to level up their character as they tackle increasingly difficult missions.

Guilty Gear Strive

TBA | Arc System Works | PS5, PS4, PC

The latest in the long-running Guilty Gear franchise should be out early in 2021 with some interesting new fighters as well as exciting returning characters. There will be a dedicated dash button and a new feature will let opponents who are knocked into walls cling to them. If you can land enough attacks, you will break through the wall and initiate a stage transition.

Arc has promised “a completely new Guilty Gear” with Strive. We’re not sure about that, but the trailers showcasing the franchise’s trademark mix of 2D and 3D graphics look better than ever.

Halo Infinite

Fall | 343 Industries | XSX, XBO, PC

After a disappointing reveal last July, Halo Infinite was bumped from the Series X launch to Fall 2021. The game has been described as both a sequel and a “spiritual reboot” for the series, so it will be interesting to see how far 343 Industries handles Cortana’s heel turn after the fan backlash Halo 5: Guardians received.

Many fans weren’t happy to hear more microtransactions will be added to Infinite in the form of “coatings” (shaders) that can be purchased to customize Spartans in multiplayer. It doesn’t help that players have yet to even see any multiplayer gameplay from Infinite.

Hopefully, the delay will give 343 the time it needs to put out a game that lives up to the series’ reputation.

Hitman III

January 20 | IO Interactive | XSX, PS5, PS4, XBO, PC, Switch, Stadia

IO’s rebooted Hitman games are among the most underrated titles of the last few years, streamlining the series’ once finnicky systems and placing Agent 47 in huge sandbox levels with more ways than ever to eliminate his targets. If you own the previous two games, you can import maps and progress to take advantage of Hitman III’s improvements on any platform, but only the PS4 version will support the PSVR headset for the ultimate Hitman experience.

Hogwarts Legacy

TBA | Avalanche Software | XSX, PS5, PS4, XBO, PC

Hogwarts Legacy is about the closest any of us will ever get to a Hogwarts acceptance letter. Set in the 1800s, you’ll get to choose your House, learn spells, brew potions, and live the life of a young wizard in an open world. But don’t think you’ll be stuck behind Hogwarts’ walls for the entire game. The trailer also showed off Hogsmeade and the Forbidden Forest.

Horizon Forbidden West

TBA | Guerilla Games | PS5, PS4

Thanks to its unique post-post-apocalyptic setting and fluid gameplay, Horizon Zero Dawn was one of the best open world games of the previous generation. The sequel looks to out do the original with even more varied environments like deserts, beaches, and the ruins of San Francisco. And there will of course be more mechanized prehistoric beasts than ever before.

While Forbidden West is coming to the PS4 as well, the PS5’s DualSense controller should provide the definitive experience thanks to its haptic feedback. You should finally be able to feel what it’s like for Aloy to pull back on her iconic bow.

Lego Star Wars: The Skywalker Saga

TBA | Traveller’s Tales | XSX, PS5, PS4, XBO, PC, Switch

There have been plenty of Lego Star Wars games, including one that already adapted the “complete” saga, but this will be the first to feature the entire Sequel Trilogy. Even if you’ve played through those other games, The Skywalker Saga will feature never-before-seen levels and gameplay.

Traveller’s Tales promises an absolutely massive game, too. Each of the nine films features five levels, and the movies can be played through in any order. Nearly 500 playable characters are expected to be included in the final game. We’d love it if Mando and Grogu make the final cut, too.

The Lord of the Rings: Gollum

TBA | Daedalic Entertainment | XSX, PS5, PS4, XBO, PC, Switch

Making a pure action game or an RPG based on The Lord of the Rings is the obvious choice, so it’s a pleasant surprise to see a developer try something different with the franchise. Since Gollum isn’t exactly known for his combat prowess, this titular adventure will largely focus on stealth, following the creature on an adventure set between The Hobbit and The Fellowship of the Ring. Unlike most recent Tolkien media, Gollum is based solely on the books and not the movies, so we should see some new visual takes on the usual orcs and trolls as well.

Mass Effect: Legendary Edition

Spring | BioWare | XSX, PS5, PS4, XBO, PC

Nearly a decade since its conclusion, the Mass Effect trilogy remains a favorite among many gamers. BioWare hasn’t commented too much about what to expect from this remaster, but we know the visuals will be upgraded to 4K, and all of the excellent post-launch DLC will be included. The developer has also promised other upgrades to bring the titles up to modern standards, so maybe we’ll see some changes to the first game’s finicky combat. And if Bioware is feeling particularly ambitious, we might even get a few hints as to what they have planned for the upcoming sequel.

The Medium

January 28 | Bloober Team | XSX, PC

Originally announced way back in 2012 for the Xbox 360, PS3, and Wii U, The Medium was shelved for years due to technological constraints before finally resurfacing in 2020. Gameplay focuses on a medium who can instantaneously travel between the real world and the spirit realm to solve puzzles, something that just wasn’t possible until the current crop of consoles adopted solid state drives.

Bloober Team has quietly built a reputation for itself excellent single-player horror games like Observer and Layers of Fear, and The Medium looks to be their best and most ambitious game yet.

Monster Hunter Rise

March 26 | Capcom | Switch

The excellent Monster Hunter: World helped the series find a large audience in the West, although the game’s more demanding performance requirements kept it off the Switch. But that’s okay because Rise is coming exclusively Nintendo’s portable-console hybrid. And rather than a watered down port of World, Capcom has said it’s a full-featured sequel with a new, more vertical map and all 14 weapon types from Monster Hunter: World and Monster Hunter Generations.Capcom has also announced that Rise will have some sort of compatibility with the upcoming Switch RPG Monster Hunter Stories 2: Wings of Ruin, although we don’t know what that’ll entail just yet.

Nier Replicant ver.1.22474487139…

April 23 | Square Enix | PS4, XBO, PC

Before Nier: Automata was hailed as one of the best games of the last generation, there was simply Nier, a quirky, slightly janky action RPG that nevertheless found a devoted fanbase on the PS3 and Xbox 360. Square Enix has been cagey on exactly what improvements we’ll see in Replicant, an updated version of the original, saying only that it’s somewhere between a remaster and a full remake.

The screenshots we’ve seen so far look absolutely gorgeous, and the combat system will also be updated to more closely resemble Automata’s gameplay. Considering that Nier‘s graphics and combat were criticized at the time, Replicant could end up being the definitive version of the experience.

No More Heroes III

TBA | Grasshopper Manufacture | Switch

Another game that was bumped into 2021 at the last minute, we actually haven’t seen that much from this one, even though it should be out soon. Screenshots show Travis Touchdown wielding his trademark beam katana and performing pro wrestling moves on enemies. And everything looks much better on the Switch than the first two games originally released on the Wii.

As we’ve all come to expect from Suda51 and Grasshopper Manufacture by now, the story sounds absolutely bonkers, involving a weird parody of E.T. the Extra-Terrestrial and aliens posing as superheroes who Travis must now defeat to save the world. It doesn’t make a ton of sense, but No More Heroes fans wouldn’t have it any other way.

The Outlast Trials

TBA | Red Barrels | PC

While The Outlast Trials will be the third game in the Outlast series, it won’t follow the plot of the previous games and instead will focus on the subjects of some sort of Cold War experiment. Those earlier games didn’t feature any combat, instead forcing you to evade enemies to survive, and it’s a safe bet that The Outlast Trials will follow a similar gameplay structure. It’ll also feature four-player co-op, a first for the horror series. Knowing Red Barrels, you should expect something really scary.

Outriders

February 22 | People Can Fly | XSX, PS5, PS4, XBO, PC

Outriders combines the shooter and RPG genres in some unique and engaging ways. At the start of the game, you’ll pick from one of four classes: the time manipulating Trickster, fire-controlling Pyromancer, the seismic-powered Devastator, or the Technomancer, each of whom has a full-featured skill tree. The three-player drop-in, drop-out gameplay showed so far looks a lot like Gears of War with sci-fi powers. Some have compared the title to live service games like Destiny and The Division, but People Can Fly says that’s not accurate and that Outriders features a story campaign with a definitive ending.

Persona 5 Strikers

February 23 | Omega Force and P-Studio | PS4, PC, Switch

It’s a tradition at this point for Atlus to spin-off a Persona game into as many other titles as possible. We’ve already seen rhythm and dungeon crawler spin-offs of Persona 5 (and even a Super Smash Bros. cameo from Joker), but this will be The Phantom Thieves’ first foray into the hack and slash genre. Gameplay is a mix of the usual Dynasty Warriors combo attacks, but there will also be turn-based persona battles as well. And of course, expect plenty of Persona 5’s usual style and flare.

Phantasy Star Online 2 New Genesis

TBA | Sega | XSX, XBO, PC

Wait, didn’t Phantasy Star Online 2 just come out? Well yes, but only in the West. Japan has been playing the game since 2012, which is why the MMORPG might feel a little dated. New Genesis is a half update-half sequel with updated combat, and for the first time in the series, open world areas. It’s more like the Final Fantasy XIV: A Realm Reborn update instead of a whole new game. The best part is that you’ll be able to transfer over your character from PSO 2 to New Genesis, and like its predecessor, it will be completely free-to-play.

Prince of Persia: The Sands of Time Remake

March 18 | Ubisoft | PS4, XBO, PC

The Sands of Time was arguably the best game of the PS2 era, which is why a remake is long overdue. Fan reception regarding the new art style has been mixed, though it certainly does look better than the original 2003 release. But how this remake plays remains to be seen.

While lauded for its tight platforming and time-bending mechanics, The Sands of Time always suffered from lackluster combat. Let’s hope Ubisoft has ironed out all of the kinks with this remake, though.

Originally planned for a January release, Ubisoft recently pushed the game back to March 18, so we’ll have to wait just a little bit longer for the return of the Prince.

Psychonauts 2

TBA | Double Fine | XSX, PS5, PS4, XBO, PC

Fans have been waiting for a Psychonauts sequel for 15 years now. Fortunately, it looks like Double Fine’s follow up will finally see the light of day in 2021. The first game was praised for its varied levels and puzzles, and Psychonauts 2 will again see Raz delving into the psyches of other characters, with hilarious and frightening results. Raz won’t be completely alone for this journey as Double Fine has announced that he will be joined by a new glowing companion voiced by Jack Black.

Rainbow Six Quarantine

TBA | Ubisoft | XSX, PS5, PS4, XBO, PC

Rainbow Six Siege is still one of the most popular multiplayer games on the market years after its release, which is why Ubisoft isn’t looking to get in the way of its own success with Quarantine. While Siege focuses on PvP combat, Quarantine takes its inspiration from that game’s popular limited time Outbreak mode. In this spin-off, teams of three work together to eliminate an alien threat controlled by the AI in dynamic missions. The game won’t be completely independent from Siege though, with at least some of its roster of operators also being playable in Quarantine.

Ratchet & Clank: Rift Apart

TBA | Insomniac games | PS5

There hasn’t been a bad Ratchet & Clank game yet, and Rift Apart seems poisted to continue that trend. The basic gameplay will be similar to the excellent 2016 reboot, but Insomniac is taking advantage of the power of the PS5’s SSD to introduce instant travel between completely different worlds. From what we’ve seen in gameplay trailer so far, the mechanic is very impressive in action. Equally stunning are the game’s visuals, which will support real-time raytracing and full 4K resolution.

Resident Evil Village

TBA | Capcom | XSX, PS5, PC

Resident Evil Village is a direct sequel to Resident Evil 7: Biohazard, but don’t call it Resident Evil 8, as Capcom is emphatic that the focus will be on the mysterious occurrences in a European village and not the larger Resi universe. From the one trailer we’ve seen, we know that Ethan Winters will be returning from the previous game, and this time around he’ll be joined by series regular Chris Redfield.

Gameplay will again be in first-person, so you should notice quite a few similarities with Resi 7, but with improved graphics and much shorter load times since this will be one of the first major next-gen releases that won’t have a PS4 or Xbox One version.

Scorn

TBA | Ebb Software | XSX, PC

Scorn looks like an absolute nightmare, but in the best possible way. It is, after all, directly inspired by the art of H.R. Giger of Alien fame and Polish painter Zdzisław Beksiński. In Scorn, you play as a skinless humanoid searching for answers in a horrific techno-organic open world. At the very least, it promises to be the most disturbing title of the year.

Shin Megami Tensei V

2021 | Atlus | Switch

While the Persona spin-off series gets most of the attention nowadays, the original Shin Megami Tensei franchise is still going strong, and the latest title in the long-running series should be out worldwide next year.

This is the first Shin Megami Tensei developed using the Unreal Engine 4, so it should look fantastic, but expect similar gameplay to previous titles, including turn-based combat and lots of negotiating with demons to try to get them to join your party.

Super Mario 3D World + Bowser’s Fury on Switch

February 12 | Nintendo | Switch

When it was released in 2013, Super Mario 3D World was easily one of the best Mario games in years, effortlessly combining the 3D movement of newer games in the series with the level design and multiple characters of the original NES games. You could play as Mario, Luigi, Princess Peach, Toad, or Rosalina, and they could each don catsuits that opened up all sorts of new platforming opportunities. But maybe 10 people played it because no one bought the Wii U.

Nintendo hasn’t said exactly what Bowser’s Fury is, but based on the trailer, a few new levels seem like a safe bet. Even if there aren’t a ton of new features, this is a welcome re-release of an underrated gem. And it will definitely be played more widely on the Switch.

S.T.A.L.K.E.R. 2

TBA | GSC Game World | XSX, PC

The original S.T.A.L.K.E.R. games were praised for their horrifying atmosphere, survival horror gameplay, and unique setting in the radioactive Chernobyl zone. Even now, almost 14 years after its release, Shadow of Chernobyl holds up pretty well, even if the graphics are dated.

At this point, we know more about S.T.A.L.K.E.R. 2’s troubled development than the game itself. The title was first announced in 2010, cancelled in 2012, and then revived in 2018. The trailer released in 2020 looks promising though, and Microsoft has announced that the game will be available via Game Pass on release day.

Vampire: The Masquerade – Bloodlines 2

TBA | Hardsuit Labs | XSX, PS5, PS4, XBO, PC

Vampire: The Masquerade – Bloodlines 2 may be the most unlikely sequel of 2021. The original game, released in 2004 exclusively for the PC, was a sales flop, criticized for its poor combat and myriad technical issues. Still, anyone who powered through the game was treated to some sharp writing and top-notch roleplaying. Needless to say, the game has built up a sizable fanbase over the years, with fan mods resolving many of its technical issues.

Bloodlines 2 moves the series to Seattle, with a new storyline emphasizing the struggle between vampire and human. Gameplay, which will mostly be in the first-person, focuses on choice, from which factions you side with to how you tackle each mission. If Hardsuit can avoid the technical problems that plagued the first game, this could be the redemption story of the year.

Warhammer 40,000: Darktide

TBA | Fatshark | XSX, PC

Fatshark’s previous Warhammer Vermintide games were among the best co-op titles of the last generation, featuring heart-pumping four-player multiplayer action against hordes of rat men. The latest installment, Darktide, has a lot in common with previous Vermintide games, except that the setting has moved to the sci-fi-heavy Warhammer 40,000 universe. Players will control members of the Inquisition, who are sent on a mission to exterminate a heretical cult known as The Admonition. The game will feature the same visceral melee combat as its predecessors, but this time all that killing is done for the glory of the God Emperor.

Werewolf: The Apocalypse-Earthblood

February 4 | Cyanide | XSX, PS5, PS4, XBO, PC

Despite their lengthy history in folklore, there have been remarkably few games that let you play as a werewolf. So, while there’s admittedly not much competition, Earthblood is already looking like the definitive lycanthrope experience.

cnx.cmd.push(function() { cnx({ playerId: "106e33c0-3911-473c-b599-b1426db57530", }).render("0270c398a82f44f49c23c16122516796"); });

You play as Cahal, a werewolf seeking redemption in the Pacific Northwest after accidentally killing a member of his tribe. The game will feature the obligatory player choices and skill tree, but the real is the ability to shift between human, wolf, and werewolf forms at will. Should be interesting!

The post Best Games to Play in 2021 appeared first on Den of Geek.

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zanytimetravelenthusiast-blog · 6 years ago

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Tube Traffic Machine Review Should We Get It

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