We’ll chat about what Frostpunk 2’s new roadmap is bringing to the strategy game in a second, but first, here are some other genres with the -punk suffix I would like to see brought to fruition soon:
- Pastrypunk (A sort of Great British Bake Off meets The Running Man murder gameshow)
- Beepunk (A gritty post-apocalypse following a catastrophic pandemic that only beekeepers were able to survive due to those funny hats they wear)
- Jinglepunk (Christmassy!)
- Tescopunk (in which a series of mergers leaves a single surviving Big Tesco and its management as the true underdog in the future corporate forever wars)
Even one of these would make me very happy, but here’s something to make you happy, rhetorical Frostpunk 2 enjoyer. It’s a roadmap. With snow. It is a snowed-map.
First up, there’s several hotfixes culminating in Patch 1.2, which the update says “implements various gameplay and interface changes,” with more details to come soon. “As you all know,” the update teastes “frostland is a dangerous place, full of hidden truths buried beneath layers of ice and time, and you are never quite certain where it may lead you and what it may uncover if you look hard enough…”
The next big’un is the “Free Major Content Update”. There aren’t any details really, although 11 bit say that “on top of DLCs, we’re committed to adding free content updates, which in many ways were inspired by your feedback, that will significantly impact your overall experience with the game.”
Finally, there’s three pieces of paid DLC planned: two for next year, and one for the year after. That third piece doesn’t have a name, but 2025’s DLC are named ‘Spectrum’ and ‘Aurora’. “Rest assured,” say 11 bit, “these major milestones are only part of what’s to come. Alongside them, we will continuously work on hotfixes and improvements to the game and its overall stability. Right on the horizon we have the Patch 1.2 that implements various gameplay and interface changes – more on that very soon.”
Frostpunk 2 is a “an atmospheric, bold attempt to reinvent its own society-moulding subgenre,” reckoned Sin in her review, “whose story and building features too often frustrate with too few options or distract with too many.”