Humans are hard-wired to learn about the world through experience. Such is the case in Bunker Punks, where Fero reigns supreme, and its workers are left scrambling for scraps.
“I thought that the world’s wealthiest people would have some sort of emergency plan in place, a place to go and live out the apocalypse in comfort,” he explained. The more time Neville spent following current events on social media, he explained, the more he began to think about the ramifications of a global apocalypse in the United States. In fact, Bunker Punks was written with American geopolitical and socioeconomic fears in mind. In a world where major corporations are given more power daily by the United States government, and federal spending diverts millions upon millions of dollars towards private military contractors in Afghanistan, Neville’s setting is incredibly relevant. “If the government collapses, it almost seems silly to think that the wealthiest and most powerful people and companies in the world wouldn’t step up and at least provide for themselves.” “Today, the largest corporations have more money than many countries, and there are private military contractors larger than some armies,” he explained to me. In other words, Bunker Punks ’s post-apocalyptic world is self-aware of the present. The Fero corporation isn’t just a dystopian villain, Bunker Punks suggests-it represents the very worst of late capitalism. Security cameras force employees to be on their best behavior, and bulletins implore laid off workers to join the cyborg proxymen army. Fero advertisements litter the bunkers’ walls, encouraging profit consumption when money is in excess. However, Neville hasn’t neglected the underlying politics behind Bunker Punks. Critics have called the game a throwback to DOOM (1993), hailing its fast-paced combat and engaging gunplay. Levels are procedurally generated and permadeath is active-meaning no two bunkers are the same, and players cannot load from a past save point if things go awry.īunker Punks’s post-apocalyptic world is self-aware of the presentĪs a roguelike shooter, Bunker Punks is pretty heavily invested in its own lineage. Play is split into two segments: building up the gang’s base of operations, and raiding bunkers for resources. Players take control of a group of post-apocalyptic freedom fighters bent on destroying the Fero megacorporation by raiding their bunkers, and claiming the loot inside for their own use. Created by industry veteran Shane Neville under the guise Ninja Robot Dinosaur Entertainment, Bunker Punks is about everyday heroes fighting against a wealthy megacorporation at the center of a dystopian society. She brags to herself about her successful raid, as she leaves behind dozens of dead proxymen and broken machines in pursuit of her true enemy: Fero’s corporate leaders.īunker Punks isn’t a standard first-person shooter. Molly Pop pushes past the ad and heads to the exit elevator. “Become a proxyman.” A line of the same humanoid enemies rests in the center of the portrait, ready for duty. Blood sprays onto the floor and walls as a poster becomes coated with the man’s viscera. Molly runs up close and unloads her pistol at point-blank range into his face. A humanoid figure stares at Molly, firing a gun in his hand. There’s something different here, though. She wastes no time, shooting down the flying robots in seconds, then travelling down a hallway into a large room filled with yet more AIs. After all, why wouldn’t they be? Molly Pop is the head of the Zero Sum Gang, and she’s on a mission to topple the Fero corporation by raiding their bunkers one-by-one.
They hover over her, firing red lasers completely bent on killing her.
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The door opens, and she hits the ground running into a room full of drones.
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There’s an eye patch on her face, a shotgun on her back, and a pistol in her right hand. A 20-something girl stands in an elevator.
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