November newsletter

Welcome to the official 3D Realms & Slipgate Ironworks newsletter!

I’m your host, Alex Danino, and I will take you with me on the journey through our projects as they unfold from month to month. Get comfy and feast your eyes on the latest news from our family!

Keep in mind, we are still new to this newsletter thing, so the format might change a bit in the future as we learn the ropes. Don’t be shy; tweet at us or say hi in our Discord server and let us hear your feedback!

The Quick Beats from November:

HOT NEWS

The Kindeman Remedy releases on PC

Troglobyte Games recently joined the 3D Realms family with their new title, The Kindeman Remedy, which was released on PC on November 16th. We sat down with Saverio Caporusso, CEO of Troglobytes Games, to discuss the game.

 

What made you want to make The Kindeman Remedy?

“We were the publisher of Ravenous Devils for consoles, and we wanted to produce a kind of a successor of that game, but with a different serial killer and a different setting. We decided the setting would be a hospital, where people can’t run away. So it’s a prison hospital, with a nun-nurse and a doctor. It’s inspired a bit by The Green Mile – especially the execution scenes. Some people might lose sleep because of us. Oh well.”

 

For those of us who don’t know, what kind of game is this?

“Well, we wanted to implement a specific kind of aesthetic, like a novel. It’s not an action game. It’s a management game but with a novel intersection. We hope that the story basically makes someone think about how nobody gives importance to the lives of inmates. For instance, someone becomes famous and rich. The success of that person comes, perhaps, at the destruction of another.”

 

What was the most challenging thing, so far, with making the game?

“Managing the reception. This is not a story for everyone. Just because you don’t like, say, Animal Crossing, it doesn’t mean it’s a bad game. It’s just not for you. We want to communicate to the players that, like any other game, this is not for everyone. Still, we want to appeal to people with open minds. That’s also why we have a warning at the beginning of the game; that it’s a work of fiction, and we don’t endorse what happens in the game.”

 

Then, what was the most rewarding?

“Getting the attention of so many people. There were so many who reached out to us and said that they wanted to play this game. That was really cool!”

 

The Kindeman Remedy is out now on Steam and GOG.

RIPOUT enters Early Access

RIPOUT was released in Early Access on October 24th, and thus only barely made this newsletter before being “old news”. But it deserves attention!

 

For the RIPOUT interview, it was double trouble – but without the trouble. Instead, we got to interview two members of the dev team, as we had the pleasure of speaking with Goran and Aleksandra from Pet Project Games. Goran is the Creative Director, and Aleksandra is the Project Manager, and they are both wonderful.

 

RIPOUT came out in Early Access recently. How has that been for you?

Goran: “It was pretty eventful. The most important thing during the early access period is that we get feedback; based on what we’ve seen so far, the audience agreed with us on the things that we felt were lacking. So our roadmap is aligned with the feedback that we got, which is good.”

 

So what are you working on now?

Goran: “We’ve got a lot of content. We’re designing new monsters, we’re designing new types of missions. That was one of the main sticking points, the repetitive nature of missions. So these are the first things that we’re tackling, making a huge difference in mission challenges during the playthroughs. That’s the thing that we’re going to address in the first Content Update, as well as getting more stuff for people to grind for, like more weapons and more variations for the pet gun.”

 

RIPOUT is out in Early Access on Steam.

Kingpin: Reloaded releases in December

Kingpin: Reloaded is a fan favorite with a long-awaited release. It’s finally happening on December 5th! So, on a dreary November morning, we had the chance to sit down with Robert Brown, the Game Director and Lead Programmer on Kingpin: Reloaded and talk about the game. His melodic Scottish accent immediately brightened our day.

 

What’s been the best thing about working on Kingpin?

“Well, apart from working on a game that I’ve written mods for since 2000, it was good to be able to actually write the game!”

 

What have you learned that you will bring with you onto the next project?

“I suppose I could quote… was it Aristotle or somebody like that? It was one of these ancient philosophers: I now know that I know nothing. I knew I was not the best programmer, but then when I got down to these little things, especially the graphical stuff… You know, the shaders: I knew how to write shaders, knew about stencil buffers, these kinds of things. But then going to do something that I’ve never done before, it was like, why is it not working? You know, it’s like the flashlight in the game, it should work, it did work, but it looked rubbish, so now it looks better, but now only one of the flashlights works! Argh! And the way I’m writing the stencils, it should work, but it doesn’t, so I’d need to change it. That kind of thing.

 

But apart from that, I wouldn’t go as far as to say that I know nothing. It’s hard to describe without blowing my own trumpet too much. It’s like, I can’t be that bad of a programmer to do everything that I’ve done in the game, you know? I’ve reverse engineered, I’ve translated the SDK code, which is the only code that we had, which luckily enough is the brains of the game – I translated it from C to C#, designed the engine for it to actually run, so I can’t be that bad.”

 

Oh, you gotta give yourself a bit of credit here!

“Yeah, I’ll try, once it’s released! That’ll be a relief!”

 

Robert will experience this relief on December 5th, when Kingpin: Reloaded releases on Steam.

The 3DRmy needs YOU!

Welcome to the 3DRmy!

 

“What the heck is that?”

 

Let us tell you!

 

The 3DRmy (pronounced three dee army) is the exclusive fan club we are starting for fans of 3D Realms. It’s being spearheaded by Nick Palsmeier, aka. Damien Azreal, our lovely Community Manager.

 

Not everyone will gain access right away – but try your luck; you might be one of the chosen ones!

 

As an incentive to join, the members will be able to earn points, which can be spent on merch, games, and other exclusive prizes. We are still figuring out exactly how to run this, and we will adjust accordingly as we move forward and learn, so please be patient with us.

 

We are still taking baby steps with the 3DRmy, but are excited to see where it will go. Make sure to send Nick and the rest of the 3DRmy crew a nice DM once in a while to remind them that it’s all worth it – building this is giving us gray hairs, but hey, gray hairs can be sexy, right? Right?!

 

You can sign up for the 3DRmy HERE – Good luck!

Latest News of Active Projects

Bloodless

I had the pleasure of meeting Danilo for the first time for this interview – well, meeting might not be right, as he is sitting in Brazil, and I in Denmark. Still, a very happy man greeted me on my screen that Tuesday evening. After a bit of small talk, we dove into the questions, and I quickly found out that he had plenty of reasons to be happy.

 

First of all, welcome to the 3D Realms family! Can you tell us what the journey was like, from the inception of Bloodless to getting to this point?

“The game was born in 2019, but our journey goes a bit further back than that. In 2017, we were working in the industry – me and some of the others in Point N’ Sheep – and we were tired of making games for other people. Here in Brazil, the market is big on outsourcing and mobile games. We didn’t want to do that. So we ended up getting some people we know, friends from the industry, and we made some gamejams in each other’s houses over the weekends, having fun and creating new mechanics, new tools – that was the main goal; not to create a company or anything like that, just to experiment and have fun.

 

So, Bloodless came out in 2019, during an online, international game jam, and a couple of months after that, we looked at the prototype again and saw potential, so we decided to give it a try, asking ourselves how we could expand upon it. That was 2020.

 

Every year, we took the game to BIG Festival here in Brazil – kind of a GDC for Latin America – and in 2021 we brought a more polished version, and we got a lot of advice from publishers, including some Japanese ones, which was helpful for us in regards to narrowing down the style and audience. In 2022 we took it to BIG Festival again and got great feedback, confirming that we were going in the right direction. Then, this year, we were nominees for Best Brazilian Game at BIG Festival, and we won! And Justin Burnham was there, as he was part of the jury, and he saw potential in us. I didn’t have to pitch the game to him; he’d already played it and knew what we were trying to do.

 

A couple of months after that, we signed! The timing was great; where 3D Realms is right now, and where we are right now. Because of that, the process was straightforward.”

 

What is your specific role within the Bloodless team?

“It’s a very collaborative process, and we all come from different backgrounds. When we first started, we didn’t have any specific roles. We always supported the game however we could, and if there was stuff we didn’t know how to do, we went and learned it. My specific background was Design and Production, so as the game evolved to the point where we now have a publisher, I am directing the game, deciding stuff on a daily basis, and producing. But we still hold onto the structure where everybody helps – but the final call is mine.”

 

You’re the Final Boss!

“Nooo! I hate that! But unfortunately, yeah. Somebody has to be.”

 

Wishlist Bloodless on Steam!

Combustion

Let’s get one thing straight: We have a lot of Freds in this family. So, for the sake of simplicity, there’s Fred (Frederik Schreiber, Big Fred, our CEO), Becker (Frederik Becker, Associate Producer), and Little Fred (Fredrik Ström, LittleNorwegians, the Director of Combustion). Imagine what would happen if we one day could get the Triforce Of Freds into one room. It would probably catch on fire from the sheer power. So let’s not. Let’s instead delve into this interview I did with one of the trifecta, Little Fred, about Combustion.

 

So, Lil’ Fred, tell us about yourself. What do you do?

“I am the creator of Combustion. I started working on it before it was picked up by 3DR, and now I’m full-time employed. Right now, I’m wearing six different hats; I’m the director and producer, you could sort of call it “the admin side”. But I’m also responsible for… basically, kind of everything that isn’t the sound or the programming. So all the story, the writing, the animation, the 3D modeling, the texture work, all of that stuff, that lands on me. But I’m used to being kind of a solo developer, so it’s all good.”

 

How many hours of sleep do you get on average?

“I sleep during the weekends! [laughs] But in all fairness, that’s something that has improved the last few months, not just for me, but for members of the team as well. We’re trying to actually strive for that balance that we always tell ourselves that we will have. We actually do commit to it now. It’s the thing of burning the candle at both ends, isn’t it?

 

We also realized that we had a period of time where we were… we sort of refer to it as being in the trenches, where we were so deep in development that… I wouldn’t say we didn’t make any mistakes, but we weren’t operating at good efficiency, because we were burned out and slightly demotivated. Thinking back on that time, we have learned our lesson.”

 

Where are we currently at with Combustion?

“We’re in a good position right now! We are approaching it with new methods, new gusto, and everything. We have tons of assets. We have tons of graphics, sounds, animations, all of that. Most of that is actually done! I would say there are still levels to set up, and there’s always some stuff. But what we are working on right now is the foundation of the game’s programming and mechanics. Huge credit to our programmer, Dan, on the system he calls ActCore, which is an all-encompassing system that affects the entire game in a beautiful way.”

 

I was asked specifically to ask you this: Have you been getting any furry porn of your characters so far?

“No, not yet! But I have encountered a lot of furries interested in the game, of course. But no porn. And I don’t want this to happen artificially, so I’ve actually told several people, no, don’t go commissioning people to make Combustion furry porn; I want that to happen organically… So the day when that starts actually happening, I’ll feel really proud. Really weird, but also really proud.”

 

Wishlist Combustion on Steam and GOG!

CULTIC

Jason Smith is not just the Solo Developer of CULTIC, but also a close friend of mine, with whom I have shared many good laughs over the years. As such, it felt less like an interview, and more like hanging out with a friend on company-time when we sat down to discuss CULTIC for this newsletter.

 

How far along is CULTIC right now?

“The interlude came out at Realms Deep, so at the end of September. That was like getting a bunch of system back-end stuff ready for Chapter Two; getting the shields and ladders working, and the alternate weapon system. And Interlude kind of acts as a demo to let people try those new features out before they’re present in all of Chapter Two. I took October pretty easy and didn’t really work on much game dev stuff, because I got married and everything. And now I’m finally actually getting started on Chapter Two maps.”

 

What have you learned from working on CULTIC that you can bring with you to, for example your other game, Bonerooms?

“Don’t work on long games! [laughs] I have a feeling that CULTIC will be the longest game I’ll ever work on – and it’s not even that particularly long. I had a phenomenal time working on Bonerooms because it’s a very small-scale game. In CULTIC, if I want to make a significant gameplay change, I have to play the entire game through to make sure that it doesn’t break anything. And the code base is huge. CULTIC’s like 70,000 lines of code. And the code is getting to the point where it’s huge and messy, and working on something that’s small and simple is a lot more rewarding. So I think, in the future, I will probably not work on any game that’s going to take me longer than two years to completely finish.”

 

What if you at some point get a bigger team? Like if you’re not just a solo developer, then things would be quicker, but would you be comfortable having more people with you?

“No, I’m probably never going to work with a team. I’m far too anal about everything to do with my project that anybody working with me would hate it. I don’t want to micromanage people on that level, because I scrutinize everything that I do to such a high degree. I can make small changes a hundred times until something feels right. But I don’t want to make an employee make a hundred small changes until something feels right. I mean, it would be really nice to have an artist, because making 3D models takes me forever. It would be great to have somebody doing that part for me, but I dunno. It’s just not something I want to manage. That sounds really stressful. Plus, I’d have to share the money! [laughs]”

 

Buy CULTIC on Steam now!

GRAVEN

I met up with Gustav Schrøder, the always-happy Producer of GRAVEN, to ask him a few questions.

 

So, where is GRAVEN currently at?

“In terms of project status, GRAVEN is in that end-stage where we’re working on our Gold Master Candidate (GMC); that means we’re submitting builds to our publisher that we’re trying to get approved. After that, it’s localization, looking into porting – and ultimately PC launch on January 23rd.”

 

GRAVEN has been in development for quite some time now. How does it feel to be this close to the finish line?

“This is gonna sound awkward and terrible, but… I haven’t been on it that long, so I don’t have that “oh finally, it’s done!” – I’ve only been on the project for about half a year, in total, so I don’t really have that same sense of “FINALLY!” that some of the other people on the project might have. Especially someone like David [Queener], who’s been there since Day One; that has to be, like, Twilight Zone, oh my god, we’re done?!

 

Personally, I’m just happy to have been able to contribute – and my role also changed a lot over the span of time that I was on it, so it’s also been a big development for me, personally, getting to know the people, and the game, and the business. I’ve learned a lot!”

 

Buy GRAVEN in Early Access on Steam and GOG.

Ion Fury: Aftershock

Ion Fury: Aftershock came out recently, and is now in post-production. I met up with director/level designer Max, also known as oasiz, to discuss what the journey has been like.

 

What was the idea behind making Ion Fury: Aftershock?

“Aftershock itself kind of started immediately after the main game was done in 2019. And of course, COVID and everything hit, and everything was a little bit up and down… But it started as sort of a, hey, let’s do a couple of maps for the game. It was only meant to be a really quick thing, “let’s get it out of the door and be done and dealt with”, but slowly, it evolved. As it goes with an artist, if you give them a task to do with an infinite time to do it, it’s never going to be done. So we just ended up adding a bunch of art, and Roz did a full soundtrack for it. So we kept just adding more and more stuff, and it ended up kind of being like Ion Fury 2 in many aspects, I would say. But it took a long time to get done.”

 

What was the most challenging aspect of making Aftershock?

“Probably project management. An important lesson that I took away from it was that if you give someone a task to do – let’s say a simple task like cleaning a room – you give them one hour or you give them 15 minutes, you’re going to have a very different end goal in mind when you tell people that, hey, this room needs to be cleaned in 15 minutes, this room needs to be cleaned in one hour – and how quickly we end up something like a paralysis when we give ourselves too much time and we give ourselves too much freedom in a way.

 

The most important thing when you have a large project, where you have a lot of passionate people working on something, is that you need to know how to limit yourself. Of course, the tools themselves that we’re working with are limited, to begin with, but that’s more of the artistic side. But also, how can you guide people? How can you make people see that this is what we want to do, and this is kind of where we want to go, and this is what we should do, and this is what we should not do? Because it all goes better if you give someone a clear goal, a clear path to go there, and you give them a limited amount of time. Learning that process, and internalizing it, I would say was the hardest part in the end. And that’s kind of a cool thing to learn as well.”

 

What was the most rewarding, then?

“Getting to do a lot of things that we wanted to do in the original game but couldn’t, and having the tools for it. I mean, it is an expansion pack, it’s never going to be nearly as big in terms of exposure and everything as the main game, but I would say that as a product, we are much happier with the end results. It was very rewarding to finally make the game we wanted to make in many ways. I mean, we love the first game, but there were obviously a lot of growing pains when jumping from modding to being professional – and the maturity of having a clearer focus, having a clearer idea of what we wanted to do as game developers.”

 

Buy Ion Fury: Aftershock on Steam and GOG.

Phantom Fury

I met up with Gustav Schrøder, the Producer of Phantom Fury, to ask him a few questions about the game.

 

Where are we currently at with Phantom Fury?

“The demo we showed at Realms Deep was a level that was originally showcased once upon a time at Gamescom. Since then, the balancing has been changed; there’s work going into audio that wasn’t present in the demo – that’s gonna be there for the full game; there is stuff that the demo wouldn’t have been able to showcase at all, that will be in the full game. Mainly the complete progression of the game, all the different levels and areas.

 

Phantom Fury is a gorgeous game, so there’s a lot to enjoy there.”

 

Is there anything you want the people reading the newsletter to know, that we haven’t already touched upon?

“Send the Phantom Fury team your love and best wishes, because they’re deep in the trenches, and they’re doing the best they can to make the game as awesome as it can be within the limits of our production’s reality.”

 

Wishlist Phantom Fury on Steam and GOG!

Tempest Rising

Our RTS-darling, Tempest Rising, is chuggin’ along. Malthe Jensen, the producer of Tempest, agreed to spend 15 minutes with me to chat about the game.

 

Malthe, you’re the producer. What do you even do?

“As a baseline, I make sure that we have a plan for the production; that everybody knows what to do, and what to do next, and that we deliver everything on time.”

 

Isn’t that a little bit like trying to herd cats?

“A bit, sometimes. Producing for video game development is interesting, in that we’re really lucky that everyone’s super passionate about what they do. It’s not like I have to force anyone to do anything. Most people are really receptive, because people want to work on the things they’re working on, and they like knowing what’s going on. The difficult part is that everybody’s super specialized in the specific thing they’re doing, and that specific thing is very complex, making communicating with other people, and doing other complex things, really complicated for everyone. In most of IT, you have a bunch of programmers and UI designers working together. But us, we have artists working together with writers, designers, programmers – there’s so much interdisciplinary stuff going on.

 

The “herding cats” part is not so much getting people to do their own stuff, it’s more getting people to communicate with people who need their stuff for something completely different; getting assets from a 3D artist to an animator, to a VFX artist, to a programmer – making sure that pipeline runs smoothly. That’s probably the most challenging part of the job, and what I end up spending most of my time doing; the inter-team communication.”

 

Do you like it? That’s a loaded question.

“Yes, I do! I mean, it’s challenging, but that’s part of what makes it so interesting. I rarely have two workdays that are the same. There’s a lot of stuff I do weekly that is similar, but there’s a lot of new challenges all the time. And I get to know what is going on everywhere, which is super cool! I get to talk to the programmers about what they’re implementing, I get to see what the 3D artists are working on. And there’s something super humbling about working with people who are so good at their specific craft and seeing all of that come together is really, really cool. It’s weird because I’m not good at a specific craft in the same way that our 3D artists and programmers are. So being able to use what I can do to facilitate them creating really beautiful art or really cool mechanics in our game is really rewarding. It’s a cool experience, seeing all of that come together.”

 

Do you have any messages for the people reading the newsletter?

“I hope you will play the game and enjoy it. I know from showing the trailer and releasing the demo, how much it meant to the team, seeing people’s responses, and how excited they are for the project. When we released the trailer, the response was such a boost to the morale of the entire team. I hope people will keep being excited for it.”

 

Play the demo and wishlist the full game on Steam today!

Twisted Tower

There’s no question that yours truly is a huge fan of Thomas Brush. So when we signed the deal to publish his newest project, Twisted Tower, there was much rejoicing. But to get to sit down and pick his brain? Even more awesome. Thomas is the Project Lead and Art Director on the game, and we started nerding out pretty quickly…

 

How did Twisted Tower come to be? The journey from inception to now?

“I’ve always had a desire to make a first-person shooter. I was born in 1990, so I grew up… not necessarily on boomer shooters; my childhood was in the early 2000s, like the original Halo and Half-Life, and I always wanted to make a game like that. We started working on Twisted Tower three years ago, and it’s just been constantly changing.

 

The game was originally named Sliver, then we changed it to Father, and it was more of a medieval-type shooter, where you would go into a castle, and there would be mythology – it was about the Garden of Eden, actually! But then we decided we needed a different approach; most game developers really struggle with marketing, and we just knew it wouldn’t be selling well, it wouldn’t capture the audience the way we wanted it to, so we thought about a different angle, which was, “What if we did this creepy Willy Wonka-type game show?” So you’re still climbing a tower like in the original concept, where it was a massive tree in the Garden of Eden – the gameplay stayed the same – we just changed and restructured the story. So that’s what we’ve gotten now with Twisted Tower.”

 

I remember when I first heard you were joining our family, I was surprised because I’ve been a fan of you and Atmos Games since Pinstripe (2017). When I saw the trailer for Twisted Tower, I noticed that both graphics-wise and gameplay-wise, Twisted Tower seems very different from Coma, Pinstripe, and Neversong. What made you go from those types of games to this, and why now?

“It’s weird because Pinstripe was made before I had kids. I have three kids now – one is on the way – so I’ve got these beautiful children that cannot play Twisted Tower; they’re not allowed to, right? Not for a while, at least. But they love Neversong! I made Pinstripe, which is about a father and his daughter before I had my daughter. So, you would think that I’m making games that are correlated to my current life… so I find it interesting that the moment my kids are born, I sort of escaped from my day-to-day of being a father, into revisiting my childhood. It could be a kind of escapism; I love being a father, it’s the greatest thing ever! But now that I’m a father after I finish my work-day at midnight, then during my work-day, I want to escape into my childhood – and this game is like everything from my childhood, having my friends over and just playing first-person shooters! But I’m not gonna be surprised if you play Twisted Tower, and after you finish it, you’re gonna go, “This felt just like Pinstripe.””

 

That’s the thing, because, when I watched the Twisted Tower trailer, I could feel elements that I remembered also from Pinstripe. A lot of the atmosphere, it’s almost oppressive which I also felt at certain points during Pinstripe and Neversong.

“Yeah, and like… Del Toro and Tim Burton, that’s the tone I’ve always tried to replicate; this dark, fable-like tone. It’s whimsical and usually in the Victorian era, or the 1910s, 1920s; and Twisted Tower and Pinstripe, and even Neversong, got that fable-like feeling.”

 

It’s very “Pan’s Labyrinth”.

“That’s right. But you know, I was reading a review on Steam, and somebody wrote, “Everything about Pinstripe is great, but the dialogue is purposefully immature, and I really don’t like it. It killed the tone.””

 

I disagree!

“I do too! And I don’t know why, but for some reason, if I’m gonna make a game that is a dark fable, I have to make the dialogue seem like a child wrote it. So if you listen to Mr. Twister’s dialogue [in Twisted Tower], it’s very immature; it’s like a middle-schooler wrote it, and it’s purposeful! I can’t quite figure out why I have that drive, ‘cause I could write dialogue that is very serious like an adult wrote it, but I feel like I have to add contrast to the grittiness and the darkness of the world of the game. All that said, I think if you play Twisted Tower from beginning to end, you’ll find that the tone and flavor of it are like the standard ingredients to my other games.”

 

Wishlist Twisted Tower on Steam!

WRATH: Aeon of Ruin

WRATH is coming out soon – so soon that we can almost taste it. What does WRATH taste like? Not sure. But hopefully, it will taste like sweet, sweet success. Christalynne Pyle said yes to meeting with me to talk about it.

 

So what exactly is your role on the project?

“I’m the project manager when overseeing both the project and overall production, and running the tasks and managing all the other steps for release management, trying to get the game out the door. So kind of overarching talking-with-everyone and making sure development is still going on.”

 

It’s so crazy to think that WRATH is gonna be done soon. Are you gonna be breathing a sigh of relief or will you miss it?

“A little bit of both. It’s kind of bittersweet because I really love the game, but also I know that everyone’s done. So it’ll be kind of nice getting to the finish line just so that it is complete and everyone can work on something else and get a breath of fresh air.”

 

Where are we right now in the process? What’s left?

“We hit content lock a little under a month ago [at the time of writing this]. So we’re currently in the QA phase where we are testing, trying to find bugs, and just overall gameplay experience. And then we’re working on fixing any issues that we find. Our release build is gonna be the one that we built in December. [November] is just testing as much as possible, and we’re feeling pretty confident.”

 

So now that WRATH is close to being finished, what have you learned that you will bring with you to new projects?

“I think all of it was a learning experience, you know. It was interesting, to take a project that was close to the beginning, and going all the way to the end. It taught me a lot about the importance of having a formal pre-production beforehand, and then limited production. Going through this showed me that a lot of the pre-production steps are important, and we have to take time to do that before we kind of rush into getting to a release type of mind if that makes sense. It’s more of a project management type of lesson, I guess. It improved a lot of my skills as a producer, because I saw what went wrong, and now I know how to apply it better to a future project.”

 

WRATH: Aeon of Ruin is out in Early Access on Steam and GOG.

Gear, games, and good times

Since 3D Realms’ reboot at the end of September this year, we’ve launched a new line of merchandise with our new logo and colors.

 

So far, we still only have the essentials – but there’s a reason why they are essential! You can never have too many hats, after all. And those mouse pads are extremely sexy. And let’s be real – your socks have holes in them. Don’t believe us? Look at your feet right now. Okay? Good thing that we also have socks for sale. And t-shirts, hoodies,, mugs, and phone cases!

 

Visit the merch store and get yourself some new duds. You’ve earned it.

 

https://3drealms.com/store/

Postcards from… you!

As a part of our newsletter, we want to dedicate a segment to YOU!

 

Tweet at us with the hashtag #3DRPostcard and write 100-150 words about your relationship with 3D Realms, attach a picture of yourself wearing our merch, and we might feature you in the next newsletter!

 

To the right is a mockup of what it will look like.

 

Send us your postcard today!