![]() Instead of more licensed southern rock, we’re treated to some awful, generic instrumental rock tunes that range from bad ‘90s grunge to bad ‘70s country rock (even though the game takes place in the late ‘60s). In actuality, it’s a horrendous mess that thinks it’s a decent game. Unfortunately, this hope is short lived until the second a character opens their mouth and you take your first roll forward on a motorcycle. ![]() It seems to signal that the game isn’t looking to take itself seriously, but instead trying to offer ridiculous fun in the vein of a modern-day grindhouse flick. The main menu has a nice pulpy look to it as it blares Rival Sons’ “Pressure and Time” and the intro has you firing a gatling gun at a bunch of enemies before moving on to a quick time fight and a title card. The odd thing about Ride to Hell is that it starts off with a glimmer of hope that it might actually be a good game. But not only did Ride to Hell turn out to hardly be playable, but a dying relic of a time where uninformed gamers could be bilked out of a quick buck from a studio desperate to salvage whatever financial gain possible from a failed project. Instead, I at best had hope for a strange “so bad its good” experience along the lines of Deadly Premonition. That’s not to say that I’m holding it against the title by unfairly comparing it The Last of Us was a special experience that’s rarely obtained in the medium. While your average gamer may play Tomb Raider and naturally progress to BioShock Infinite, I had the privilege of playing The Last of Us before transitioning into… Ride to Hell: Retribution. Being a critic can sometimes lead to an odd juxtaposition of games.
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