A new star is born in the infinite firmament of video games, about to strike through the virtual firmament with its colourful light beams and mind-expanding play. This is âThrasherâ, a psychedelic opus, set to transport players into a reality as vibrant and surreal as it is unreal. Out this July, itâs a game, but also: an intergalactic, neon-infused ride through colourful environments, made by the Thumper designer Brian Gibson, with coding master Mike Mandel.
âThrasherâ is a ray of light in the games landscape, and a new kind of experience weâll see first on the Meta Quest, and soon on the Apple Vision Pro (and, yes, with a SteamVR edition in development). The dev team itself claims the experience to be a âmind-melting arcade action odyssey.â Itâs a promise that gets my own heart racing, both as someone with years under my belt, and as a newcomer.
At the centre of this puzzle box called âThrasherâ is an enigmatic space eel, as distinct as its environment. The player must shepherd the snake-like traveller through worlds of non-Euclidean logic, avoiding obstacles via âfast-paced gesture controlsâ in an attempt to stay alive long enough to evolve and, ultimately, confront a cosmic god. This is no gameplay as much as it is gestural hoofing through a neon fever-dream, bump and grind punctuated here and there by tests of skill and perception.
Thrasher, then, is not a game to play; itâs a song to listen to. The synthesis of sound and image is tightly linked to the symbiosis between Gibsonâs design, as an artist and composer, and Mandelâs technology, as a programmer. As a result, the visuals, sounds and gameplay of Thrasher all seem to demand the same thing: the playerâs immersion in an intense, mesmerising stream of intricate visual stimuli and ear-splitting sounds. Inspired by psychedelic neons, zig-zag prisms and fractal symmetries, Thrasherâs aesthetic is an exercise in the use of bold, contrasting colours and hard-edged, regular geometric shapes in the service of its relentless mechanical procedures.
The weaponry of the space eel is as trippy as its setting, enabling the player to spray the screen with a rainbow of bullets, or carve a hole through the scenery with a light display. Not only do these powers serve a tactical function, but they also amplify the visual and aural environment, firmly indicating that âThrasherâ prefers a gameplay style thatâs as much about spectacle as it is about action.
Although the most obvious appeal of âThrasherâ lies in its VR iteration, a chance to ride along inside its glistening digital universe, the buzz leading up to a console and PC release speaks to the gameâs broader appeal. A chance to âgo trippyâ will be accessible to throngs of players â a signal that, if it is indeed rolled out, âThrasherâ could not only become the prototype for psychedelic gaming, but set the new gold standard.
But when âThrasherâ eventually premieres, whatever it turns out to be, itâll be an embodiment of where imagination and collaboration â and wonder â triumph over technology, and vice versa. Itâs a game where the rules can be broken. Where thereâs no wrong way to play, and where the sky doesnât always have to be the limit. Itâs a game that, to players, could represent an odyssey or rite of passage that presages another kind of gaming frontier.
Consoles have long been the gateway to exotic and fantastic worlds and find their perfect expression in these experiences, so uniquely focused on offering the thrill of adventure in your living room. âThrasherâ hints that it will soon emerge from VR and release on consoles and PC, an important way that it democratizes excellent games and allows more people to share in the advancements that the Shack bundle enables.
âThrasherâ is the promise of a neon splash on that video game history tapestry. âThrasherâ is the promise of a new mass experience, a shared experience of wonder and discovery. We donât yet know what it will be, but we donât have long to wait. When âThrasherâ comes out later this year, consoles will take us to a completely new planet of the imagination.
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