Tunnel B1

About

Tunnel B1 is a single player shooter game with a science fiction theme. It was developed by NEON and was released on April 13, 2018. It received neutral reviews from both critics and players.

Underground. Faster than fear. You have become one with your war machine. Flesh sears. Metal warps. Darkness enfolds you. The tunnel has swallowed you whole. It is alive with the instruments of death. Even the walls want to kill you. The speed hurts. Trigger finger blisters. But it's all you've got. Because the light at the end of the tunnel is a thermonuclear explosion. - Enemy weapons screa…

Genres & Tags

Play Modes

Single-Player

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50%

Audience ScoreBased on 18 reviews

music3 positive mentions

gameplay3 negative mentions

The game features a rich and nostalgic aesthetic, capturing the essence of 90s gaming with its graphics and soundtrack, which is composed by renowned artist Chris Hülsbeck.
Despite its challenges, the game offers a fun and engaging experience for those who appreciate obscure titles and are willing to navigate its complexities.
The inclusion of both the PS1 and DOS versions provides players with options, and the game is compatible with modern systems like Windows 10.

The controls are poorly mapped and can be confusing, leading to a frustrating gameplay experience, especially for new players.
Both the PS1 and DOS versions suffer from performance issues, including stuttering sound and sluggish frame rates, making it difficult to enjoy the game fully.
The game may not appeal to modern audiences, as it feels outdated and lacks the polish expected from contemporary titles.

gameplay
3 mentions Positive Neutral Negative
33%
100%
The gameplay is a blend of car combat mechanics reminiscent of Wipeout and Twisted Metal, featuring rockets and machine guns within a tunnel-centric environment. While the narrative is minimal, the game creatively utilizes its tunnel design to introduce varied mechanics, though some players feel the experience does not justify its price.
- “Essentially a combination of previously mentioned games, Wipeout and Twisted Metal, featuring car combat mechanics (rockets, machine guns, and dodging) with a minimal narrative of being stranded on a planet with enough tunnels to make the London Underground look like a playground.”
- “Essentially a combination of previously mentioned games, Wipeout and Twisted Metal car combat game mechanics (rockets, machine guns, and dodging) with a threadbare narrative of being stranded on a planet with enough tunnels to make the London Underground look like a playground.”
- “Even though, as the name implies, all the levels are tunnels, the game knows how to get creative and introduce different mechanics to this kind of level design.”
- “Expensive for this gameplay.”
graphics
3 mentions Positive Neutral Negative
33%
67%
The graphics are generally appreciated for their richness and suitability for a low poly, 32-bit style reminiscent of the PSX era, enhancing the overall experience. However, some users find the graphics lacking, describing them as poor and not meeting expectations. Overall, opinions are mixed, with a notable divide between those who enjoy the nostalgic aesthetic and those who criticize its quality.
- “The graphics are rich and great for a low poly, 32-bit game of the PSX era, and the music is really cool, getting you in the mood for some intense action.”
- “The graphics and the sound are horrible.”
- “The sound is exactly what I remember, and the graphics are what you can expect from this game.”
music
3 mentions Positive Neutral Negative
100%
The music in the game is highly praised, with users noting that it effectively sets the mood for intense action and enhances the overall experience. The soundtrack, composed by Chris Hülsbeck, is described as top-notch and impressive, contributing significantly to the game's appeal.
- “The graphics are rich and great for a low poly, 32-bit game of the PSX era, and the music is really cool; it gets you in the mood for some intense action.”
- “Music is top notch.”
- “The soundtrack is incredibly good, not surprising considering it's Chris Hülsbeck.”