Warships are so old, so vast and so complex they develop their own cultures entire societies of feral humans, the descendents of lost crewmen, lurk in forgotten decks. Maintenance is ritualised, tech-adepts praying to machines they don't understand, anointing them with sacred unguents and beating them with holy wrenches. They are filled with millions of press-ganged ratings and chanting priest-mechanics, loading gigantic shells by the back-breaking labour of thousands and unloading broadsides from gun decks the size of towns. Imperial capital ships are millennia-old vessels resembling kilometres-long Gothic cathedrals, with spikes and spires for sensor masts, covered with pointless bling in the form of giant skulls or mile-high statues of eagles made of solid gold. The Imperial Navy, the focus of much of the game's art and background, is the very definition of Cool, but Inefficient. Joyfully embracing Space Is an Ocean in every way possible, the game throws together vast hypertech spaceships, Napoleonic line tactics and broadsides, torpedoes and torpedo boats, sailing, planet-splitting weapons, ramming and boarding actions, Old School Dogfights, sea shanties and alien monsters.
What happens when the people behind Warhammer 40,000 decide to make a game about spaceships.īattlefleet Gothic takes everything cool about naval combat throughout history, and mixes it with the gothic aesthetic and unending, chaotic grimdarkness of the Warhammer 40,000 universe.
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