Playing ULTRAKILL is like sliding down a waterpark tube for thirty minutes, except the tube is ten feet wide and you’re riding a surfboard modified with a jet engine.
ULTRAKILL is what happens when a sixth-grader’s notebook doodles from 1998 become the inspiration for Gendy Tartakovsky’s next feature-length animation.
When you start, ULTRAKILL feels like performing an Olympic ice-skating routine in the middle of a hockey match. Eventually, ULTRAKILL feels like playing dodgeball as Neo.
ULTRAKILL is the sensation of playing in a ball pit in zero gravity.
Each weapon in ULTRAKILL feels like a new superpower, and like any good superpower, their eventual potentials realize in cascading moments of joy, awe, and fear felt equally.
ULTRAKILL is what happens when a sixth-grader’s notebook doodles from 1998 become the inspiration for Gendy Tartakovsky’s next feature-length animation.
When you start, ULTRAKILL feels like performing an Olympic ice-skating routine in the middle of a hockey match. Eventually, ULTRAKILL feels like playing dodgeball as Neo.
ULTRAKILL is the sensation of playing in a ball pit in zero gravity.
Each weapon in ULTRAKILL feels like a new superpower, and like any good superpower, their eventual potentials realize in cascading moments of joy, awe, and fear felt equally.