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I'm gay (USER WAS PUT ON PROBATION FOR THIS POST)
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Oct 1, 2017 04:53
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GulagDolls posted:I'm killerman..... Killerman is Killerman?
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Oct 1, 2017 05:21
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Zetsubou-san posted:it might not be iconic to you younglings but this moment certainly caused panic attacks in lil' zets I am hammering the shield button
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Oct 1, 2017 09:04
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 SPOOKY G4MES: The Ghost Dimension 1. Stories Untold    When you break horror games down, they tend to fit into a few convenient categories. Sometimes there are real monsters to fear, sometimes you end up in their domain, sometimes you're struggling to stop them from running amok, and sometimes they're all in your head. I'm not going to spoil Stories Untold by indicating which road it travels, but I have to be honest that it's my least favorite one. And if it didn't do everything else so very, very well that might be a dealbreaker for me. Luckily, it still manages to be exceptional in every way except its story. Ironic, isn't it? Stories Untold is a collection of four horror-themed vignettes built around interacting with old 1980s-era technology. The first, The House Abandon, is an old 80s-style text adventure played on an ancient, boxy computer. The second is set in a science lab with plenty of clicky, chunky audio/visual equipment to play with. The third is at a polar listening station where you must transmit coded radio messages. And the fourth vignette ties it all together very effectively. Each one works a creeping unease into your activities in different and clever ways, often by toying with your perspective as you mess with antiquated interfaces. The real hook of Stories Untold is how you play it. Not content to simply give everything a thick 80s sheen of fake wood paneling and cathode ray tubes, your primary means of interacting with the game is via text parser. Not only that, but the computers you enter your text commands on are distinct entities within the game world. In The House Abandon, for example, you're playing through a text adventure on an old Commodore-style terminal. Instead of just showing the screen, the monitor, keyboard, desk, and seemingly extraneous details like pictures and clocks are all modeled around it. These elements are not actually extraneous, of course, because the way this game gets you is in how your text parsing adventures affect everything around them. Your commands are obviously going to have different effects between a text adventure, scientific equipment, and code transmitters, but the story also unfolds around you as you go through the motions of your tasks. There are further forms of interaction as well which are used to great effect, and can inspire surprising amounts of dread in how they diverge from your safe typing up to that point. As effective as the moments are in Stories Unknown, I would be remiss not to clarify that they are inconsistent in their pacing and effectiveness. The House Abandon is an incredibly strong starter and sets the tone for the game perfectly, but the scares trail off a bit from there. The second chapter lost steam for me pretty quickly, and while the third has an excellent buildup, the payoff was weaker than I expected. This is less a function of how the scares are planned and executed and more how they tie into the overall story, which for me detracted from everything that was going on. Mechanically the game is perfectly sound, and for a text parser I found the term recognition mostly adequate. You're not going to have a ton of options at any point, so the game is mostly figuring out what command you need to enter to proceed. The third chapter in particular has you following a lot of coding instructions that feel like a play on how linear the actual gameplay is. Still, it forms a natural puzzle system where you can divine the next line to enter based on a little experimentation and observation. I only got stuck on one line at the very end of the game, only because the parser wanted me to specify the contents of a bottle instead of the bottle itself. Overly picky, but certainly not a dealbreaker. The only potential dealbreaker is the story, and I wish I could expand on it for your benefit but it really is best experienced for yourself. That's really where I'd put Stories Untold, as a game that's worth experiencing so long as you're prepared for what may or may not come in the end. As much as I dislike the story I adored the retro aesthetic and the tactile pleasure of hearing keys clicking as I typed into the terminals. Obviously if the story lands in the right spot for you this is an excellent buy, but even if it doesn't this is a fine take on a dormant genre that proves text parsing can still carry a gam
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Oct 1, 2017 17:20
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Zetsubou-san posted:it might not be iconic to you younglings but this moment certainly caused panic attacks in lil' zets gently caress yes! Amazing game, amazing moment. If you opened the door before they reached the ship they just came on board as well. You'd hear them crashing around in the back until you ascended to orbit. Ah, memories... Shame this remake project seems to be dead in the water: https://www.youtube.com/watch?v=9ER62YvtRPI
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Oct 1, 2017 17:40
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That was my secret. I was tiding us over until the long march of October horror games.al-azad posted:I already have Oxenfree, I just want to celebrate probably the most iconic scene in a video game let alone a horror game. I think this is my overall favorite. Can still get a good sense of the horror of that turn. A. Beaverhausen posted:
I love the pathos. Gromit posted:We've got a theme here, except I'm poo poo at drawing so maybe no-one can tell what the hell this is? The first time I ever played, I think I'd seen this scene previewed, so it wasn't a big shock. Still, gently caress that dog. Zetsubou-san posted:it might not be iconic to you younglings but this moment certainly caused panic attacks in lil' zets i'm a millennial what Solice Kirsk posted:
This is the only one I can't figure out.  Solice Kirsk posted:Take two! Dolphin's come a long way, right? I should track down a copy and emulate it. burn it all down   My soft heart can't decide. Everyone's a winner. I'm gonna...give it to Beaverhausen, and everyone else, expect a random steam key! Hopefully horror-focused, but maybe not. Everyone without PMs, post an email address.
Bogart fucked around with this message at 19:41 on Oct 1, 2017 |
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Oct 1, 2017 19:32
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i'm a winnar
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Oct 1, 2017 20:11
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Thank you for Sherlock Holmes: The Devil's Daughter  I didn't think my submission was that great, I'm not good with art, but I'm glad I could bring to mind one of the simpler, scarier, spookier experiences in a game. I was either going to ms paint that, unagi the eel from the same game, or something from clock tower like scissorman coming out of the bathtub in the SNES game or scissorman with the KILL KILL KILL computers in the PS1 game.
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Oct 1, 2017 20:13
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Bogart posted:This is the only one I can't figure out. It was supposed to be this: 
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Oct 1, 2017 20:18
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Oh, weird. Is that the PAL territory version? The US' was much more IN YOUR FACE LEON S KENNEDY WAHHH
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Oct 1, 2017 20:28
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Holy crap, I really didn't think mine was worth anything! Here ya go raha@wmail.club FirstAidKite posted:Thank you for Sherlock Holmes: The Devil's Daughter Nice! Your's was great. They all were! (Except mine, but just imagine Laura drew it)
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Oct 1, 2017 20:33
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Oh god. I played RE5 (with a friend co-op) and had a blast, so thought I'd give this one a try yesterday. It's been a long time since I've actively hated everything about a game to this degree. However, watching a longplay of it by someone who knows all the ins and outs has turned out to be way more fun than the game could ever have been for me.
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Oct 2, 2017 00:13
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I recently played through the entirety of >Observer_ and I’m not sure that I’ve ever enjoyed a game so much whilst feeling like it was doing everything to try and make me hate it. The writing is bad, the voice acting is bad, and the way the dialogue is cut together is terrible. Excising the entire door-knocking mechanism from the game would probably improve the game significantly. Also, for a game so simple the interface is extremely poor. Playing with a keyboard and mouse I often lost the single-pixel pointer and sometimes struggled to even click on a dialogue choice. The quest-log was somehow completely anti-intuitive, despite being little more than a list of text. The decision to have the game turn into stealth-horror at random intervals, complete with instant fail-states is baffling. It adds nothing but frustration. Sign-posting throughout is often poor and interesting ideas are immediately undermined by clumsy mechanics (I’m looking at you, digital-forest/real world overlay). At one stage I wasn’t sure if the game was letting me progress because I’d completed a sequence or because I’d failed it so many times it just wanted me to move forward (screaming baby screen, second stuck door). The side stories (organ-farm, little girl), whilst interesting, make the narrative seem scattered and hurt the pacing. The ending I chose (embrace), on top of using the rightfully maligned ‘bifurcation based on a single dialogue choice’ trope, felt inconsistent and cheap. Yet despite all of the above I felt compelled to keep playing. The mechanic of jacking into and out of people’s confused and scattered memories felt effective and well realised. The way that memories and reality progressively bled together worked well. I particularly liked the sequence-break in room 210 where the the protagonist, and, by association, the player, lose time and have to piece together what has happened. I thought that the confusion between the protagonist’s memories and those of others added to this, rather than detracted. At times game skillfully walks along the very edge of incomprehensibility without ever stepping over it. Also the integration of themes of technological inequality and disadvantage in highly technocratic society was far better than the otherwise poor writing would seem capable of. I hesitate to recommend the game and will be approaching future projects by the devs with skepticism but overall I really enjoyed it in spite of itself. I suspect that much of my enjoyment stems from my prior interest in the game’s themes, both the cyberpunk aesthetic and explorations of the subjectivity of reality. Moooooooooooon fucked around with this message at 01:20 on Oct 2, 2017 |
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Oct 2, 2017 01:17
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Just beat Dark Wood, and I loved every minute of it. The art and animations are top-notch, and the gritty, top-down spritework serves to enhance the atmosphere, making the various disturbing experiences you find recognizable but hard to focus on. I just wish there was more of the game to explore. Ending stuff: Is there no way for the protagonist to survive? The "go back to sleep" ending strongly implies that you just lie down with all the other sleepers in The Being's lair and eventually become fertilizer, while the route that opens up when you torch The Being in the "burn everything" ending appears to be a red herring; you will always get hit by that wall of fire once you approach the log bridge. Then again, I chose not to kill the mutant pig sow and helped the Musician instead of the Wolfman (then killed him when he took my stuff), so maybe switching up those quest choices might change something other than the text at the end. Still a fantastic way to end the game.
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Oct 2, 2017 01:50
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I'm right with you on Darkwood - fantastic game. Nothing you said about the ending happened in my my game, so there's clearly more than one way it can play out. I failed the one shot tunnel escape, and failed to break through the debris in the dream sequence beneath the tree. I burned down the tree and walked out of the woods. I returned to my apartment and went to bed. There was food on the stove but no sign of my wife. It was just as strange and bleak as the rest of the game. As an aside, I can get over how good the world building in Darkwood is. Everything is so bizarre and alien but it has a great sense of cohesion. There are some amazing set pieces, too. For example the snail house is so striking and unique. On the flipside the crashed rocket is both understated and tragic, simply existing in the environment for the player to find. What a great game. Moooooooooooon fucked around with this message at 02:38 on Oct 2, 2017 |
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Oct 2, 2017 02:12
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Too Shy Guy posted:
the full story feels like a letdown because it's clever but just not clever enough. like oh hey i know you guys are trying to connect all the episodes together and why all these unrelated parts actually are relevant to each other but gdi a ptsd / coma ending is almost as bad as having an 'it was all a dream!' ending. as good as the text sequence of the final episode's presentation of the accident was it was not enough to elevate the dismaying story. honestly if the episodes were all self-contained without the baggage of carrying the overarching story, the whole game would be a much better experience
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Oct 2, 2017 02:54
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Moooooooooooon posted:I'm right with you on Darkwood - fantastic game. Nothing you said about the ending happened in my my game, so there's clearly more than one way it can play out. Did you try messing with the radio in the apartment's basement? Also knock on the apartment door next to the drunk guy, then take a peek when you leave. And before you enter your apartment, go for a walk North a bit. Lastly, remember that "Sleeper" in the first chapter who tells you to "look under the floor in the last hideout?" Guess what your "apartment" is. You can replay the epilogue, and if you didn't get that ending I REEEEAAAALLY recommend you try to find it.
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Oct 2, 2017 04:06
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Thanks, I'll be checking that out first chance I get. Edit: holy poo poo, yeah, I missed all of that. My epilogue was far nicer. Thanks for the heads up. Moooooooooooon fucked around with this message at 08:51 on Oct 2, 2017 |
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Oct 2, 2017 06:44
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Gone Home is one of the Xbox Gold games this month, and while not being out and out scary, certainly has an eerie atmosphere.
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Oct 2, 2017 09:23
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Has anyone tried Home Sweet Home? Came out recently and apparently is based on thai myths and legends. I probably will end up buying it anyway since it looks tense, but if anyone here as played I would like to know how much different does it feel from western horror games (story, monster and environment wise). If it's anything near the level of Detention I would buy it much sooner. I love horror games based on folklore I'm not used to.
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Oct 2, 2017 10:56
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Bogart posted:
Thanks mate! I messaged you back to decline the key though - I already have that game. Please pass it onto a worthy recipient. And completely unrelated someone else sent me Oxenfree anyway, so I've already won!
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Oct 2, 2017 11:05
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Meallan posted:Has anyone tried Home Sweet Home? I've only watched John Wolfe play it but there seems to be quite a bit of Thai flavour in there. Info about curses and charms etc. The translation seems a bit shoddy though.
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Oct 2, 2017 13:28
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Man I wanted to like Darkwood, but it is just clunky to the max, making old tank-control survival horror games look like a master class in playability. At least that's the case with KB&M: gamepad controls just plain refuse to work for me and many other players. That and some baffling gameplay decisions, like, in a game that's all about light and darkness let's make light also represent your vision cone! Whether it's objectively light or dark around you is for you to decide. I could see messing with survival systems being fun, but drat everything takes so long with that inventory.
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Oct 2, 2017 14:52
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SPOOKY G4MES: The Ghost Dimension 1. Stories Untold 2. Rusty Lake Hotel    The macabre has ironically been beaten to death in the gaming world, what with blood and viscera having become a more common room decor than wallpaper. That makes it all the more refreshing when a game takes a more cerebral approach to murder, such as with a sophisticated murder mystery. If you’ve come to Rusty Lake Hotel looking for that, however, you’re not going to get much more than the appearance of sophistication. There are hints of something special here, but it’s obfuscated by a thin plot, awkward puzzles, and literal boar poo poo. You are introduced to the proprietor of the Rusty Lake Hotel, one Mr. Owl, as he guides a raft of five guests across the quiet waters to their lodgings. Each of the animal-faced visitors has their own reason for attending Mr. Owl’s gathering, and it’s your job to attend to their needs during their stay. Every evening the guests will set down to dinner, and then afterwards you will follow one of them to their room to assist them in some way. There is an ulterior motive to your service, of course, and it will see more and more vacancies open at the hotel as you progress. Spoiler alert for the main plot which you will learn about maybe five minutes into the game: The hotel has no main dishes to serve the guests, and said guests happen to be comprised of delicious meats. Whatever you may have been imagining about mysteries and intrigue, you can dump it because what you are actually doing here is murdering guests to feed to other guests. Most of the game takes place in the five rooms of the visitors, where a complex series of puzzles and brain-teasers will allow you to engineer a fatal encounter with the occupant and harvest their flesh. The next day you serve it to whoever remains, and then roll on to the next unlucky critter. That makes the meat (heh) of the game the puzzles, and this is where most people are going to stumble. Each room is four walls covered with shelves, portraits, tables, and other decor that will be clicked upon and used to eventually kill someone. Expect plenty of locked cabinets with hidden keys, letter and number substitution puzzles, classics like unlabeled weights and measuring water out, and using strange items on other items. About half the puzzles are pretty logical and easy to spot but the other half is the killer, requiring you to click on sprouts until they randomly blossom into keys, or click on toy monkeys in a specific order, or look out a window at the right time, or feed a boar poo poo sandwich to the boar who shat it out. And let me assure you, I do not possess the capacity to make that last one up. Mr. Boar’s room was where I almost gave up on the game, between the fecal snack and the bleeding toilet and the insipid, confusing puzzle-locked cabinets. I stuck with it to see where the game went and I’m happy to report that the ending is interesting, even if the means of getting there were not. Rusty Lake Hotel feels like an excerpt or aside from a much longer tale, one that needs context that isn’t given anywhere. Things happens because they HAVE to happen to advance the plot, not because they make sense. There’s a dark aura to the proceedings but the ridiculous elements like animal heads and poop take the Lynchian edge off and make it all feel awkward and arbitrary. This one rides the line between yea and nay moreso than any other game I’ve reviewed thus far. It’s mechanically thin, the puzzles are poorly designed, and what little story there is is tainted by absurdity. But once you understand what it expects of you and what it offers it becomes a much smoother ride, and honestly the ending was a very bright point of darkness that helped color the game in retrospect. It’s hard to recommend but I don’t regret playing it in the end, and I must admit I’m interested in seeing what the rest of the series can offer.
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Oct 2, 2017 16:17
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woodenchicken posted:Man I wanted to like Darkwood, but it is just clunky to the max, making old tank-control survival horror games look like a master class in playability. At least that's the case with KB&M: gamepad controls just plain refuse to work for me and many other players. That and some baffling gameplay decisions, like, in a game that's all about light and darkness let's make light also represent your vision cone! Whether it's objectively light or dark around you is for you to decide. I could see messing with survival systems being fun, but drat everything takes so long with that inventory. Yeah, the decision to make inventory management deliberately obtuse is controversial to say the least, but the vision cone is much more manageable once you're able to afford taking torches/lamps everywhere and understand that "black-and-white = can't see it." I'll defend that mechanic to the death since plays into so much of the game's "scares." As for controls, I had no issues with the default keyboard stuff, but if combat is wrecking your good times, here's a few things I figured out: - The "dodge" ability is largely useless. The stamina cost is too high for a tiny step backwards and most enemies lunge past that distance when they attack. focus on sidestepping attacks with your weapon readied, then swinging when they miss. -getting hit interrupts you, but the same also applies to enemies. You can no-sell a lot of encounters by smacking them in the face before an attack hits once you get a feel for it. -Bear traps are your friend at night. They completely shutdown whatever stumbles into them, deal decent damage, and best of all, allow you to pummel your victim with impunity. -A good chunk of the enemies in this game move faster when you're not looking at them. Running away from stuff usually implies juking will be involved.
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Oct 2, 2017 17:37
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Would anyone recommend Evil Within 1? I've not really seen anyone say good or bad about it, so curious how it is.
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Oct 2, 2017 23:39
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Diabetic posted:Would anyone recommend Evil Within 1? I've not really seen anyone say good or bad about it, so curious how it is. A couple pages back there was quite a bit about it, right when the Evil Within 2 trailer dropped.
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Oct 2, 2017 23:42
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The Saddest Rhino posted:honestly if the episodes were all self-contained without the baggage of carrying the overarching story, the whole game would be a much better experience Re Untold Stories: I wholeheartedly share this opinion. The ending of episode 3 in particular felt completely undermined by the necessity to connect it to the other overarching story. Also, I know it's been said a million times but "look around"? What the hell? I grew up playing text adventures in the 80s and they had the command list dialed. It's "look" you goddamn idiots. How do you gently caress this up? I got all the way through episode 1 without using "look around" and then got completely stuck on episode 2 because I didn't know that there was a computer to use because the text parser didn't know how to "look". What a great way to bring down an otherwise excellent game. al-azad posted:In short it's an adventure detective game set in a single location. It's rough around the edges but one of the few games that really takes advantage of the interactivity of the medium. Like on my second play I see the traitor basically leave the scene of the crime, follow them, run into their routine when I first met them in the first game, and then they get nervous because they weren't expecting I'd talk to them so soon. It's great seeing all of this poo poo that happened when I wasn't looking play out. I picked up Consortium based on the recommendations in this thread. It's a neat game and I enjoyed it enough to play it through twice but I don't think it's really as dynamic as people have made it out to sound. In my second play-through I tried to replicate the above sequence (because it sounded neat) and came to the conclusion that it isn't possible, at least not in the version of the game that I have. MAJOR PLOT SPOILERS: The murder triggers on activating the conversation with Wade in the cockpit (not the phone call to his mother, the conversation that starts after that). As soon as the conversation starts you can head to Bishop-8's room and find the corpse. Both immediately before and after triggering the murder you can visit the hanger and see Pawn-32 working at a console with Pawn-4. I don't believe that 32s character model actually moves at all during this sequence (that's not to say that she doesn't commit the murder in game cannon, just that the game doesn't simulate it). Unless you're talking about a different crime? I know that you can catch 32 tampering with Bishop-8s armor if you successfully identify her before the meeting with Knight-15. I also felt that it really shows its seams on replay - which is unfortunate in a game designed to be replayed. The event triggers become more obvious and a lot of dialogue seems to be repeated regardless of which actions you take. I really wish there was a way to skip dialogue you'd already heard, à la VLR. Really I just wish that characters would take actions regardless of your presence, rather than waiting for you to trigger everything. I know that this is a lot to ask for such a small game but as it stands it just feels like so much wasted potential.
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Oct 3, 2017 00:00
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I'm sure time messed with my memories of playing it the first time but I remember feeling satisfied going into it a second time knowing how things played out. I haven't played The Tower yet but it's basically set in Nakatomi Plaza and looks larger in every respect.Diabetic posted:Would anyone recommend Evil Within 1? I've not really seen anyone say good or bad about it, so curious how it is. I enjoyed about 75% of it. It was like a testing ground for everything tossed around in Resident Evil 4 and Shadows of the Damned. Some parts are stealthy and really great survival horror, some parts are straight action, and others are big deathtrap rooms. Combat is fun, most levels have impressive set pieces, and the weapons are all satisfying to use. But it's mired in that arcade-y Japanese style so everything is deliberate in that way PS2 action games were. Like the game controls well, especially compared to the stiffness of RE4, but you wish you had just a little bit more leeway, just a little more room for error. And loving up almost always results in instant death with checkpoints far between. But I like it enough to recommend it with the caveat that it's an old modern game. Like if this came out 10 years ago I wouldn't shut up about it. But it's almost like a horror video game anthology in that each level is something new and the sequel seems to latch on to all the good parts. As long as they ditch the bullshit instant death traps and double down on gross monsters and fun combat I'll be happy. al-azad fucked around with this message at 00:06 on Oct 3, 2017 |
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Oct 3, 2017 00:03
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Diabetic posted:Would anyone recommend Evil Within 1? I've not really seen anyone say good or bad about it, so curious how it is. Not really. The plot is complete nonsense and the gameplay is pretty schizophrenic, in a bad way. Doesn't have enough good to outweigh the bad IMHO. If the sequel fixes what was wrong with the first then there'll be 0 reason to ever play it.
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Oct 3, 2017 00:06
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https://www.youtube.com/watch?v=6HodFFdkRSA
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Oct 3, 2017 00:29
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Diabetic posted:Would anyone recommend Evil Within 1? I've not really seen anyone say good or bad about it, so curious how it is. I enjoyed it. Most of the things people have to say about it pro and con are true; if the presence of a ghost who can kill you by touching you will ruin the game for you you're going to want to skip it, but if you can deal with dying once to learn what the "hide now" cue is you'll be through that segment in like five minutes. And so on for most of the rest of the major points of contention.
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Oct 3, 2017 01:18
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The gun loading reminded me of existenz.
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Oct 3, 2017 01:31
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Diabetic posted:Would anyone recommend Evil Within 1? I've not really seen anyone say good or bad about it, so curious how it is. I fall very firmly into the 'no' camp on this one. I've installed and uninstalled it a couple of times now. The furthest I've gotten is to the first upgrade station. The plot and aesthetic both fell flat for me and I didn't enjoy anything about the game-play. Even the people who like it seem to offer a fair number of caveats. al-azad posted:I'm sure time messed with my memories of playing it the first time but I remember feeling satisfied going into it a second time knowing how things played out. I haven't played The Tower yet but it's basically set in Nakatomi Plaza and looks larger in every respect. Disappointments aside I enjoyed my time with Consortium and don't regret playing it. I just wish it delivered on its premise a little more. I'll definitely be checking out The Tower when it hits full release. Edit: hanales posted:The gun loading reminded me of existenz. There is no way it's not a direct homage.
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Oct 3, 2017 01:35
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Diabetic posted:Would anyone recommend Evil Within 1? I've not really seen anyone say good or bad about it, so curious how it is. I enjoyed it but I definitely agree with al-azad's assessment of it. The story definitely can seem like everything is just happening with no explanation but if you look closely it does make some sense. CJacobs did a good explanation video of it. Spoilers, obviously: https://www.youtube.com/watch?v=IzZowmDBOGo Also, I got it on sale so my view is skewed.
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Oct 3, 2017 01:43
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Moooooooooooon posted:I fall very firmly into the 'no' camp on this one. I've installed and uninstalled it a couple of times now. The furthest I've gotten is to the first upgrade station. The plot and aesthetic both fell flat for me and I didn't enjoy anything about the game-play. Even the people who like it seem to offer a fair number of caveats. Thing is the gameplay swings wildly so the early stages are nothing like the end, will obviously alienate people. Like the first couple chapters are pure stealth, then it turns into the opening action segments of RE5, then it's the death trap castle sections of RE4, and ends with duck-and-cover action sections of RE4/5 complete with a traditional Resident Evil final battle where you blow away the villain with a rocket launcher.
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Oct 3, 2017 01:45
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I love the designs for the guns, but I hope they change the sound effects for the final release so it doesn't just sound like a pistol and a shotgun.
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Oct 3, 2017 01:56
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al-azad posted:Thing is the gameplay swings wildly so the early stages are nothing like the end, will obviously alienate people. Boring people, sure. I'm at least a little sympathetic to complaints about instant death chase sequences, but gameplay style changing from level to level is a net positive. Not every game has to do it, but some of them definitely should.
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Oct 3, 2017 02:12
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Irony.or.Death posted:Boring people, sure. I'm at least a little sympathetic to complaints about instant death chase sequences, but gameplay style changing from level to level is a net positive. Not every game has to do it, but some of them definitely should. It's not always a positive change, though. I could do without all the chase bosses. I do want to praise the presentation and sound design. It feels rare to see a modern game with gibs and exploding bodies and TEW has you covered. Heads pop with a satisfying gooey sound, you can blow away meaty chunks with your guns, there are a lot of decapitations, head stomps, limb removals, and one annoying rear end enemy that mashes your face into mush if it catches you. There's even a recreation of RE4's classic chainsaw decapitation.
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Oct 3, 2017 03:32
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For me, whether or not I can look past a game's issues comes down to whether or not it's hooks work for me. See my earlier post about Observer. There are things about that game that are straight up objectively bad and I wouldn't blame anyone for giving up on it in the first 45 minutes. But for me there were just enough things about it that I liked that I kept pressing on. Shadows of the Damned might be a better direct comparison. It has some serious issues (did I mention my big boner?) but the personality was enough to make it fun for me. The Evil Within falls on the exact opposite side of this equation for me. There wasn't anything that caught my attention enough to make me want to overlook it's problems. It's not a issue of variety (SoD has plenty of that too), just one of personal interest.
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Oct 3, 2017 04:14
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