Tesla vs Lovecraft

純粹追求爽快的俯視角射擊遊戲~~遊戲難度算中偏低，有時開局運氣不好一直沒拿到合適的道具or武器，可能會打得很辛苦，但一局時間很短，失敗馬上再來，很少有關卡會連續卡個3~5次，基本上多試試就能過了，不錯，推一個！ P.S：遊戲內有場外升級要素，但由於升級用寶石有夠難取得，基本都放棄，不過玩起來不太影響遊玩體驗XDD

Absolutely brilliant game! If you love great stories, science, and a bit of mad genius, this is a must-play. It’s easy to pick up and play, but the story between 2 genius inventors & a brilliant storyteller makes it really stand out. The Tesla vs. Lovecraft concept is fantastic, & I honestly wish they would keep this series going. More games like this, please!

Embora um jogo com uma proposta tão "estranha" de colocar o inventor Nicola Tesla contra o escritor H.P. Lovecraft, a mágica não está na história, mas sim na gameplay rogue like de fases. Com uma variedade de inimigos e de armas, dá para passar muito tempo nesse jogo. A platina dele não dura muito tempo, embora um grande problema seja a repetição de bosses e fases, sendo um tanto quanto incômodo. Fora isso, vale a pena comprar o jogo. (Não joguei a dlc)

One of my favorite twin-stick shooters. As others have said, there's some luck involved in winning a lot of the time (similar to a roguelike) but I didn't find it too bad. If you get the game, I strongly recommend getting the DLC as well, as it adds quite a bit to the game, especially when it comes to replay value. Note: 50+ hours on PS4 in addition to Steam.

10tons is a Finnish studio with a long track record in top-down action shooters; the studio has iterated on this wheel for well over a decade, and Tesla vs Lovecraft feels like the product of that hard-won craft. The game launched on PC in January 2018 and was later ported to consoles and mobile devices, a rollout that underscored the studio’s intent: a shooter designed to be as equally playable with keyboard/mouse, controller, or touch controls. The developer’s press materials and store pages make the lineage explicit — this is a spiritual successor to their prior arena shooters, but with a tighter thematic conceit and more varied level architecture. Tesla vs Lovecraft is a tightly focused, gleefully violent twin-stick shooter that marries 10tons’ long experience with arena-style slaughter to a mischievous mash-up of historical figure and cosmic-horror author. Built from the same design DNA that produced Crimsonland, the game is small in scope but deep in moment-to-moment satisfaction: crisp weaponry, rich audiovisual feedback, and a carefully tuned difficulty curve that rewards both reflexes and build choices. It is not a reinvented wheel — what it does, it does nearly perfectly. The premise — Nikola Tesla versus H. P. Lovecraft — is as smart as it is funny. On paper it’s a stunt: taking the pragmatic futurist Tesla and pitting him against the progenitor of cosmic dread. In execution it becomes the hook that allows serious gameplay ideas (weapon upgrades, perk choices, mech) to sit inside a playful narrative wrapper. The contrast between science and eldritch fiction is used mostly for tone and set dressing, and that’s exactly the right decision; it gives the game personality without hampering the loop of shoot, upgrade, survive. The result is great: the player really does feel like a scientific force of nature mowing down otherworldly nightmares. Mechanically and philosophically, Tesla vs Lovecraft is heir to an arcade tradition that stretches back to games like Gauntlet (1985): top-down perspective, hordes of enemies, and a focus on spatial awareness and crowd control. Gauntlet pioneered the “pressures of the screen” feeling — multiple threats converging from all sides, resource management (health, keys, items), and immediate, repeated runs of short levels — and 10tons translates that pressure into modern twin-stick terms. Rather than the class-based dungeon crawl of Gauntlet, Tesla vs Lovecraft replaces classes with weapon builds and perks; instead of coin-op continues it offers progression via perks and temporary powerups. Both games reward pattern recognition, cooperative play (where available), and efficient movement; where Gauntlet was an arcade endurance test, Tesla vs Lovecraft is a digitally refined, build-driven evolution of the same core thrill: staying alive while the screen fills up. If you close your eyes and think “horde-survival arcade,” the link is obvious. One of the game’s strongest virtues is the feel of its difficulty curve. The escalation is carefully engineered not just between levels but within them: waves ramp in intensity in a way that creates recurring spikes and lulls, allowing the player to feel the ebb and flow of high-octane survival. Perk selection and item pickups add a meta layer of risk/reward — choosing the wrong perk can make a subsequent spike feel punishing, but learning which combinations smooth those spikes is immensely satisfying. The way levels are built with readable architecture (cover, choke points, alternate routes) so that difficulty is rarely random; it’s skillable. This is the kind of tuning that separates a noisy onslaught from compelling design. Visually, Tesla vs Lovecraft favors moody, neon-tinged palettes and chunky, readable sprites and effects. The tech-meets-cosmic art direction keeps important gameplay information highly legible: enemy telegraphs, projectile traces, explosion radii, and the invulnerable frames of the Tesla Mech are all crystal clear. Sound design is a standout: guns have weight, enemies die with satisfying audio punctuation, and the soundtrack dynamically supports the tempo — notably, the mech’s entrance with its hard-rock sting is both hilarious and exhilarating. Audio and VFX combine to make every kill feel consequential. That feedback loop — see, hear, react — is a major reason the combat loops so well. Of course no game is perfect. Relative sameness over very long sessions is what it normally fails at: after many hours the enemy types and arena variations can feel repetitive. Local co-op is present and enjoyable, but the lack of robust online cooperative features may dissapoint some. Controls on certain mobile ports required tuning, though the core gameplay generally survives the transition. These are important but not fatal critiques; they affect marathon players more than the typical 20–60 minute sessions the game seems optimised for. So have a go to get that violence kick and then move to something else. :) Tesla vs Lovecraft is thus a concentrated, expertly tuned twin-stick shooter that accomplishes its goals with polish and wit. It stands in a proud arcade lineage — think of the pressure of Gauntlet translated into modern shooting mechanics — and 10tons’ experience shows in every balance decision and audiovisual cue. For players who love horde combat, measured difficulty spikes, and the catharsis of upgrading a modest pistol into a mechanical thunderbolt, this is essential fare. Its concept may begin as a cheeky contrast between two famous names, but the game earns the comparison: it’s both an homage to arcade horde design and a high-quality example of the form.

As someone who really enjoyed Crimsonland and Neon Chrome, this just ain't it. The gameplay is... okay. All the levels are samey, there's no real story/plot, and no real depth to the gameplay. As others have noted, RNG is a major factor - get the right passives/weapon and you're set, otherwise you'll struggle, maybe die. I finished the first difficulty level of the campaign, and I kept waiting the whole time for it to get really good, to get some cool new upgrades or something exciting, and that never really happened. I have no interest in replaying the campaign 1-2 more times on harder difficulty levels to grind out meta upgrades and maybe see a "true ending". I'd say maybe give it 5 bucks if it's on sale, but no more.

Если бы не Crimsonland, в которой было убито непомерное количество часов, то эта игра бы прошла мимо меня. После суровой школы Crimsonland эта игра проходится на раз-два: в игре не чувствуется баланс и даже третьем уровне сложности карты никаких трудностей не возникает. Если вы ещё прокачали перки через кристаллы, то в начале вам может выпасть хороший бонус, который собственно и зарешает уровень. Уровни тоже достаточно странно построены, в них нет воздуха - словно узкие итальянские улочки. На любом уровне побеждаешь - если тебе выпадает винтовка Гаусса - можно просто бегать и мочить куда попало, уровень всё равно будет пройден. Перки тоже достаточно имбовые, например дополнительный патрон при выстреле - у винтовки Гаусса на третьем или четвёртом прокачивании уничтожает всё под ноль и уровни проходятся за раз. Режим выживания тоже достаточно странный - нет того азарта, который был в Crimsonland и очень быстро становится скучно.