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Metro
2 days ago
- Entertainment
- Metro
Shadow Labyrinth review - Pac-Man meets Metroid
The Pac-Man episode of Amazon Prime show Secret Level is the inspiration for this strange new Metroidvania and its peculiar mix of influences. 2025 has so far been a good year for weird games, with plenty of unlikely oddities, including one featuring a boy stuck in a permanent T-pose and whose best friend is a singing giraffe, and the latest from Hideo Kojima where you take orders from a talking shop mannequin and fight ghosts by flinging a boomerang soaked in your own blood at them. It may seem a cliché but most of the strangest video games are made in Japan; those two certainly and so is this: a grim and gritty 2D Metroidvania that's also a secret Pac-Man game. As bizarre as that idea is it's worryingly reminiscent of Bomberman: Act Zero on the original Xbox, which reimagined the colourful party game as a dystopian nightmare and became infamous as one of the worst video games ever made. Shadow Labyrinth is nowhere near that bad, but then it's not actually that gritty either. It's inspired by a 10 minute episode of Amazon Prime Video show Secret Level, which reimagined Pac-Man as a sci-fi story about a starfighter pilot crash landing on an alien world and being manipulated by a malign Pac-Man. We haven't seen it, but we hope it was better than the game tie-in. Before we learned of the Amazon connection, we assumed the game had been inspired by the famous The Madness of Mission 6 fan art for Pac-Man, which you've probably seen on a T-shirt or two, if you've ever been to any kind of video game convention or similar event. That almost certainly would've been a lot more interesting than the vapid, cliché ridden sci-fi tale that is Shadow Labyrinth's actual backstory. Right from the start, the plot is filled with nonsensical sounding names and jargon, but the short version is you're a nameless swordsman who's been revived by a floating yellow orb called Puck, that anyone else would recognise as Pac-Man. (The name is a reference to the fact that the original arcade game was originally meant to be called Puck Man, until someone realised how easily the first letter of the word could be defaced.) After the brief, and very confusing, introduction you're immediately knee deep in Metroid homages, whacking weird alien bugs with your sword and practicing your 2D platform jumping. All of this is fine, although the bland and clinical-looking art style is immediately unappealing and almost makes it look like an old Flash game. Sign up to the GameCentral newsletter for a unique take on the week in gaming, alongside the latest reviews and more. Delivered to your inbox every Saturday morning. The core gameplay is absolutely bog standard Metroidvania but the degree to which it copies the look and feel of Metroid, rather than Castlevania or anything more original, is strange and off-putting, given this is supposed to be a Pac-Man game. More importantly, Shadow Labyrinth is no Metroid Dread, and not only is it not as well designed or executed (the signposting is awful) but the only thing unique about it is the shoehorned in Pac-Man references. Like all Metroidvanias, there's a lot of exploration and backtracking in Shadow Labyrinth, as you pick up new abilities and weapons that then allow you to access areas you've previously seen, but which were inaccessible the first time round. That sense of slowly opening up the whole map, slowly peeling open its secrets, is the core appeal of the genre but this is a very uninspired implementation of the concept, with a hundred better example available elsewhere – especially from indie developers. You've probably already guessed, but one of the most important uses for Puck is taking over the morph ball role from Metroid, as you squeeze into places you can't usually fit. The Spider Ball upgrade, that allows you to stick to walls and tracks, is the real focus though, as you move along like the arcade game, eating little white dots along the way. There're more explicit recreations of the classic Pac-Man gameplay in a series of mini-games, which look and sound like the excellent Pac-Man Championship Edition games. They even use the same music, which only begs the question of why Bandai Namco didn't just make a new one of those, instead of wasting everyone's time with this Metroid nonsense. More Trending Having Puck combine with your character to become a sort of mechanical demon Pac-Man dragon sounds interestingly weird in theory but even that doesn't make the game any more fun to play. To add more salt to the wound, Puck is a very annoying character, and the whole game comes across as obnoxious and abrasive. When we say our favourite bit is the subtler references to other Namco classics, like Galaga and Xevious, it should give some indication of how much we enjoyed the majority of the game. Pac-Man has been around for 45 years and has aged better than most other golden age coin-ops, with the Pac-Man Championship Edition series keeping the core gameplay fresh and exciting even after all these decades. There's nothing fresh or exciting about Shadow Labyrinth though, the memory of which will linger for far less time. In Short: Mixing Pac-Man with Metroid seems like an enjoyably strange idea at first, until you realise just how bland and unimaginative the end result is. Pros: You have to get a long wrong to make a Metroidvania completely uninteresting and the sword-based combat is mildly engaging. The Pac-Man Championship Edition mini-games are fun. Cons: Once you dismiss the Pac-Man gimmicks the game has no notable ideas of its own and pales compared to better examples of the genre. Confusing and unengaging story, with ugly visuals. Score: 4/10 Formats: PlayStation 5 (reviewed), Nintendo Switch, Xbox Series X/S, PlayStation 5, Nintendo Switch 2, and PCPrice: £24.99Publisher: Bandai NamcoDeveloper: Bandai Namco StudiosRelease Date: 18th July 2025 Age Rating: 12 Email gamecentral@ leave a comment below, follow us on Twitter. To submit Inbox letters and Reader's Features more easily, without the need to send an email, just use our Submit Stuff page here. For more stories like this, check our Gaming page. MORE: Cyberpunk 2077 fans think new update secretly runs better on PS5 Pro MORE: The Drifter review – Australian adventure time MORE: RoboCop: Rogue City – Unfinished Business review – 20 seconds to comply
The Verge
3 days ago
- Entertainment
- The Verge
A gritty Pac-Man reboot makes for surprisingly solid Metroid-style action
Shadow Labyrinth didn't make the best first impression, though I'm not talking about the game itself. The concept of a gritty reboot of Pac-Man first reared its strange head in Secret Level, an anthology that turned notable video games into animated shorts that mostly felt like extended commercials. And that's exactly what the episode 'Circle,' which reimagined Pac-Man as a blood-soaked survival story, turned out to be. But as off-putting as the episode was, it turns out that the premise actually works for a Metroid-style action game. For those who didn't watch Secret Level, Shadow Labyrinth puts you in the role of an unnamed, hooded swordmaster, who awakens to find himself inside some sort of dark alien labyrinth. He's greeted by a floating drone named Puck, who serves as both a guide and a partner to survive in this treacherous world. Puck, of course, is Pac-Man. For the most part, the game plays a lot like a typical Metroidvania. It's a side-scrolling game that's heavy on action, like Metroid Dread, and as you defeat bosses and collect gold, you'll slowly expand your arsenal of skills, which opens up the game further. The twisting, maze-like map is full of dead ends that you can't explore until you get the right ability, which include staples like a double jump and grappling hook. You can also craft various upgrades, both permanent and temporary, so you can customize the character to your liking. It's a satisfying loop of exploration, combat, and problem-solving (usually involving some kind of platforming sequence), punctuated by tense, elaborate boss fights that depend a lot on pattern memorization. I could be describing a lot of other games here, but there are a few elements that make Shadow Labyrinth unique. And it mostly has to do with Puck. Scattered throughout the labyrinth are rails that Puck can ride on, sort of like Pac-Man moving his way through a classic arcade maze. It's reminiscent of Samus' morph ball ability, except it's relegated to predetermined areas of the map. Later on, there are actual Pac-Man mazes to play through, too, complete with pellets and ghosts to eat. The game is at its best when you're quickly swapping between Puck and the swordmaster, either to navigate a tricky platforming sequence or defeat enemies. In one early boss battle, I was able to use a rail on the ceiling to avoid projectiles, and then drop behind the enemy for some quick sneak attacks. Early on, Puck and the swordmaster gain the ability to temporarily fuse together to create a power-up that's sort of like a mech suit, which you can use to devastate most enemies and even avoid environmental hazards. Oh, and when you're a mech, you can eat your enemies to gain materials needed for those important unlocks. One of the nice things about Shadow Labyrinth is that, unlike the animated short that preceded it, it doesn't overdo it with the grim tone. It can get a little bloody when you're slicing through creatures, but it's not gratuitous. In fact, much like Dread, the oppressive tone creates an interesting kind of tension, one that makes the rare moments of respite feel especially welcome. That said, the cutscenes are self-serious and convoluted, and there are silly moments where Puck becomes giant and eats the corpses of bosses, but these are mostly easy to ignore if all you want to do is explore a complex map, Metroid-style. That's really what the game offers. The combat is solid, the platforming is challenging, and the bosses are exciting. And thankfully, the tone mostly doesn't intrude on the experience, while the Pac-Man theme brings just enough new to add an interesting twist for those well-versed in Metroidvanias. Secret Level may have been a commercial, but it was a pretty poor one: it missed what actually makes Shadow Labyrinth worth playing. Shadow Labyrinth launches on July 18th on the PS5, Xbox, Nintendo Switch, and PC.
Miami Herald
5 days ago
- Entertainment
- Miami Herald
Q&A: ‘The Studio's' Seth Rogen and Evan Goldberg hope their 23 Emmy nominations help stack Season 2
LOS ANGELES - His impact on the film world is debatable, but fictional Hollywood studio head Matt Remick has earned the respect of his TV peers. The first season of "The Studio," which stars Seth Rogen as the bumbling Hollywood studio head, received 23 Emmy nominations, making the Apple TV+ series the most nominated freshman comedy in Emmy history - a distinction previously set by "Ted Lasso." The series also tied the record set by "The Bear" last year as the most nominated comedy series ever. "The Studio" made an impressive showing in the major categories, including for writing, directing and acting. Created by Rogen, Evan Goldberg, Peter Huyck, Alex Gregory and Frida Perez, the satire explores a movie lover's executive ascension and the resulting struggle to balance his desire to make quality films and uphold artistic integrity while up against the corporate demands of the job. In addition to Rogen, who co-directed the season with Goldberg, the ensemble cast includes Catherine O'Hara, Ike Barinholtz, Chase Sui Wonders and Kathryn Hahn. But the insider's look at Hollywood stands out with its impressive roster of A-list cameos, including directors Ron Howard, Martin Scorsese, Dave Franco, Anthony Mackie, Bryan Cranston and Zoë Kravitz - all of whom received guest actor nominations. The Times spoke with Rogen and Goldberg about the "The Studio's" big Emmys debut. Q: Congratulations on the big morning. I have to know: how soon did you hear from Matt Belloni? [The entertainment biz journalist and founding partner of the Puck newsletter had frequent mentions and a cameo in the show's first season.] Rogen: He hasn't texted me yet. Goldberg: Me either. Rogen: That motherf-. No messages. Zero. I'm checking right now. Nothing! [laughs] Goldberg: Ron Howard stopped his busy day. Belloni can't find the time. Q: "The Studio" is the most nominated freshman comedy in Emmy history, surpassing "Ted Lasso." What's your reaction to that? Goldberg: It's a real honor and an incredible thrill. Rogen: It's totally unexpected. We've had a long and lovely career that awards have not been a part of in any way shape or form. [laughs] The fact that [we're] people who started in their early 20s and are now in their mid-40s, and there's a whole new thing being introduced into our lives and our jobs, is very lovely. There's a real novelty to it and it's incredibly flattering in a way that we are not used to being flattered. Goldberg: And it will either trigger or prevent our midlife crisis. Rogen: Too late for that. Q: Seth, how do you think Matt views award nomination mornings? How does his routine compare to yours? Rogen: Oh, my God. Me and Matt, unfortunately, are more similar than I would like to admit - both as people who greatly crave external validation but also instantly translate any good news into potential pressure and anxiety to maintain that level of work. I think Matt would respond very similarly to how I'm responding to that. I'm both thrilled and feel immense pressure simultaneously to continue doing a show that people like. Q: So much of the show is about the push and pull of the Hollywood ecosystem - the decisions that even the most ardent lovers of movie or TV have to bend on to stay in the game or to keep making the thing they love. How has expressing this conundrum through the show illuminated or changed either your outlook or approach to the current realities of being a creative? Goldberg: It makes me appreciate it so much more. I've always appreciated it a great deal, but the the idea that we get to make art - now I'm just repeating Zoe's speech from the Globes [episode] - is just thrilling and you feel how difficult it is in the show. That's something that we keep running into it. My friends back home, they're like, "I love that show. It's so fun." And my friends in Hollywood are like, "Jesus Christ, that's stressful. I can only watch two at a time." And it's because they know that how real it is, how stressful it is, how difficult it can be, and how rewarding it can be. I feel like it's something that making the show and living it is a constant reminder of how difficult it all is. Rogen: The show is very reflective of our own attitude towards it, in that you see that Hollywood is much less willing to take risks in some ways than they than they used to be and in order to navigate that, you sort of have to accept that. We, as filmmakers, have. We make things based on big properties, and we also try to make smaller things based on original ideas. A lot of the show is based on our own frustrations and sort of trials and tribulations of being people who primarily want to create original material, but have found, at times, that if you want to do anything close to that in a way that actually is well-funded and seen by people, you have to make original things based on things that exist already. But, honestly, the more we get into it, it's like, "Jaws" is IP, technically; "The Godfather" is IP; "Gone With the Wind" is IP - it's nothing new. Hollywood has always looked for ways to mitigate their risk. I think individuals have always looked for ways to like be held less accountable for something going wrong. If you're making a thing that exists already in some way, then then no one will blame you for doing it. The fact that we got to make this show is like a vote for the other side. It is a big original idea. It's about Hollywood; people say, "No one wants to make a show about that, or watch a show about that." They let us take huge, creative swings with the show. The show, at once, is criticizing a system that is also allowing the show itself to kind of flourish, which we are very aware of. Q: Have you thought about who you will thank on the big night? And where does Netflix boss Ted Sarandos rank in that list? Goldberg: We just get up there, shout Ted's name and just walk off. Rogen: Yeah, we only thank Ted and no one from Apple. Q: "The Studio" is riddled with iconic cameos. Ron Howard and Martin Scorsese got their first acting nominations. How does it feel to have given them the platform for that? And Seth, how long before you find a way to get some of "The Valley" cast to make a cameo? Goldberg: To answer the first part of the question - my brain can't even accept it. It doesn't seem real. To even meet those two men was crazy. The fact that we did anything that makes them look good is one of the craziest things that's ever happened in my life. Rogen: Yeah, much like in the show, my greatest fear as a person is letting down the filmmakers who I love and who inspired me in the first place. The fact that they're getting recognition and doesn't seem like they wasted their time working with us is an enormous relief. It makes me just feel much better about the whole thing. My fear is that that I'm convincing people I love to work with me and that they'll walk away being unhappy with the experience or feeling like we didn't make them look good. [As for "The Valley"], I'll think about it. I haven't brought it up with the team yet, but now that you've cracked the door, I might have a way in. Q: Are you looking at this appearance at the Emmys as a way to get in your requests with some nominees in the room? Goldberg: If we play our cards right, we'll come out of there with the whole Season 2 stacked and ready to go. Rogen: Every Hollywood event I go to now is literally just so I can ask people to be on our show. Copyright (C) 2025, Tribune Content Agency, LLC. Portions copyrighted by the respective providers.
Los Angeles Times
5 days ago
- Entertainment
- Los Angeles Times
‘The Studio's' Seth Rogen and Evan Goldberg hope their 23 Emmy nominations help stack Season 2
His impact on the film world is debatable, but fictional Hollywood studio head Matt Remick has earned the respect of his TV peers. The first season of 'The Studio,' which stars Seth Rogen as the bumbling Hollywood studio head, received 23 Emmy nominations, making the Apple TV+ series the most nominated freshman comedy in Emmy history — a distinction previously set by 'Ted Lasso.' The series also tied the record set by 'The Bear' last year as the most nominated comedy series ever. 'The Studio' made an impressive showing in the major categories, including for writing, directing and acting. Created by Rogen, Evan Goldberg, Peter Huyck, Alex Gregory and Frida Perez, the satire explores a movie lover's executive ascension and the resulting struggle to balance his desire to make quality films and uphold artistic integrity while up against the corporate demands of the job. In addition to Rogen, who co-directed the season with Goldberg, the ensemble cast includes Catherine O'Hara, Ike Barinholtz, Chase Sui Wonders and Kathryn Hahn. But the insider's look at Hollywood stands out with its impressive roster of A-list cameos, including directors Ron Howard, Martin Scorsese, Dave Franco, Anthony Mackie, Bryan Cranston and Zoë Kravitz — all of whom received guest actor nominations. The Times spoke with Rogen and Goldberg about the 'The Studio's' big Emmys debut. Congratulations on the big morning. I have to know: how soon did you hear from Matt Belloni? [The entertainment biz journalist and founding partner of the Puck newsletter had frequent mentions and a cameo in the show's first season.] Rogen: He hasn't texted me yet. Goldberg: Me either. Rogen: That motherf—. No messages. Zero. I'm checking right now. Nothing! [laughs] Goldberg: Ron Howard stopped his busy day. Belloni can't find the time. 'The Studio' is the most nominated freshman comedy in Emmy history, surpassing 'Ted Lasso.' What's your reaction to that? Goldberg: It's a real honor and an incredible thrill. Rogen: It's totally unexpected. We've had a long and lovely career that awards have not been a part of in any way shape or form. [laughs] The fact that [we're] people who started in their early 20s and are now in their mid-40s, and there's a whole new thing being introduced into our lives and our jobs, is very lovely. There's a real novelty to it and it's incredibly flattering in a way that we are not used to being flattered. Goldberg: And it will either trigger or prevent our midlife crisis. Rogen: Too late for that. Seth, how do you think Matt views award nomination mornings? How does his routine compare to yours? Rogen: Oh, my God. Me and Matt, unfortunately, are more similar than I would like to admit — both as people who greatly crave external validation but also instantly translate any good news into potential pressure and anxiety to maintain that level of work. I think Matt would respond very similarly to how I'm responding to that. I'm both thrilled and feel immense pressure simultaneously to continue doing a show that people like. So much of the show is about the push and pull of the Hollywood ecosystem — the decisions that even the most ardent lovers of movie or TV have to bend on to stay in the game or to keep making the thing they love. How has expressing this conundrum through the show illuminated or changed either your outlook or approach to the current realities of being a creative? Goldberg: It makes me appreciate it so much more. I've always appreciated it a great deal, but the the idea that we get to make art — now I'm just repeating Zoe's speech from the Globes [episode] — is just thrilling and you feel how difficult it is in the show. That's something that we keep running into it. My friends back home, they're like, 'I love that show. It's so fun.' And my friends in Hollywood are like, 'Jesus Christ, that's stressful. I can only watch two at a time.' And it's because they know that how real it is, how stressful it is, how difficult it can be, and how rewarding it can be. I feel like it's something that making the show and living it is a constant reminder of how difficult it all is. Rogen: The show is very reflective of our own attitude towards it, in that you see that Hollywood is much less willing to take risks in some ways than they than they used to be and in order to navigate that, you sort of have to accept that. We, as filmmakers, have. We make things based on big properties, and we also try to make smaller things based on original ideas. A lot of the show is based on our own frustrations and sort of trials and tribulations of being people who primarily want to create original material, but have found, at times, that if you want to do anything close to that in a way that actually is well-funded and seen by people, you have to make original things based on things that exist already. But, honestly, the more we get into it, it's like, 'JAWS' is IP, technically; 'The Godfather' is IP; 'Gone With the Wind' is IP — it's nothing new. Hollywood has always looked for ways to mitigate their risk. I think individuals have always looked for ways to like be held less accountable for something going wrong. If you're making a thing that exists already in some way, then then no one will blame you for doing it. The fact that we got to make this show is like a vote for the other side. It is a big original idea. It's about Hollywood; people say, 'No one wants to make a show about that, or watch a show about that.' They let us take huge, creative swings with the show. The show, at once, is criticizing a system that is also allowing the show itself to kind of flourish, which we are very aware of. Have you thought about who you will thank on the big night? And where does Netflix boss Ted Sarandos rank in that list? Goldberg: We just get up there, shout Ted's name and just walk off. Rogen: Yeah, we only thank Ted and no one from Apple. 'The Studio' is riddled with iconic cameos. Ron Howard and Martin Scorsese got their first acting nominations. How does it feel to have given them the platform for that? And Seth, how long before you find a way to get some of 'The Valley' cast to make a cameo? Goldberg: To answer the first part of the question — my brain can't even accept it. It doesn't seem real. To even meet those two men was crazy. The fact that we did anything that makes them look good is one of the craziest things that's ever happened in my life. Rogen: Yeah, much like in the show, my greatest fear as a person is letting down the filmmakers who I love and who inspired me in the first place. The fact that they're getting recognition and doesn't seem like they wasted their time working with us is an enormous relief. It makes me just feel much better about the whole thing. My fear is that that I'm convincing people I love to work with me and that they'll walk away being unhappy with the experience or feeling like we didn't make them look good. [As for 'The Valley'], I'll think about it. I haven't brought it up with the team yet, but now that you've cracked the door, I might have a way in. Are you looking at this appearance at the Emmys as a way to get in your requests with some nominees in the room? Goldberg: If we play our cards right, we'll come out of there with the whole Season 2 stacked and ready to go. Rogen: Every Hollywood event I go to now is literally just so I can ask people to be on our show.
San Francisco Chronicle
6 days ago
- Entertainment
- San Francisco Chronicle
OpenAI script depicts Elon Musk as ‘not so bad, as far as dictators go,' Sam Altman as ‘a liar and a master schemer'
'Artficial,' the $40 million OpenAI movie to be directed by Luca Guadagnino and filmed partially in San Francisco, is shaping up to be quite the juicy project, according to a journalist who has read a draft of the script. The movie from the ' Challengers ' and ' Queer ' filmmaker, which begins rehearsals next week in Guadagnino's home country of Italy, takes place during a tumultuous few days in 2023 when CEO Sam Altman was fired and rehired at the San Francisco artificial intelligence company. Puck columnist Matthew Bellini got his hands on the screenplay by Simon Rich — a humorist, former Pixar staff writer and son of former New York Times critic and ' Succession ' producer Frank Rich — and reports that the movie is centered on Ilya Sutskever, the idealistic engineer and cofounder of the company. Academy Award nominee Yura Borisov of ' Anora ' is set to play the role. The Amazon MGM Studios-produced movie also depicts Altman (Andrew Garfield), former chief technology officer Mira Murati (Academy Award-nominated Bay Area actress Monica Barbaro of ' A Complete Unknown ') and many other past and present OpenAI personalities, according to the script. That includes Tesla and SpaceX CEO Elon Musk, an early OpenAI investor turned bitter rival. 'Nobody looks particularly good' in the script except Sutskever, Bellini writes. Musk, whose casting has not been announced, appears in 'a few scenes of villainy and comic relief — more concerned with his (malfunctioning) driverless Tesla than the prospect of uncontrolled A.I. destroying the world,' Bellini observes. Barbaro's Murati even delivers the line, 'Elon's not so bad, as far as dictators go.' But while Musk is an ancillary character, Altman is a prime target of Rich's screenplay. The writer delivers 'a straightforward indictment of the reckless culture behind the commercialization of artificial intelligence, as well as a drive-by hit on Altman,' Bellini writes. Altman is depicted as 'a liar and a master schemer,' and at one point a character accuses him of being 'one of the most manipulative people on the planet,' Bellini added. 'Artificial' is targeted for release in 2026, joining David Fincher's ' The Social Network,' the 2010 Oscar-nominated film about the early days of Facebook, and Danny Boyle's ' Steve Jobs ' (2015) in the pantheon of movies depicting Bay Area tech bros behaving badly.
