I loved fighting for clotted milk and sour vegetables in Pathologic. You don't have to eat, which I feel is missing a trick. Or, perhaps more relevantly, slamming a door in the face of a monster. It's a system that's as beneficial to ransacking somebody's study as it is to turning some dusty, forgotten valve. You click the mouse to 'grab' objects within the world (a door, a boulder, a drawer), and then move the mouse to interact with that object in an immersive and intuitive way. This exploring takes up most of the game, and is made all the more engaging through the same excellent grabbing mechanic Frictional used in its Penumbra titles. As you explore the castle further the plot thickens eagerly and ominously, with diaries, rooms and panicked notations all providing scraps of a much larger and more unpleasant picture. Waking up on the stone floor of some ancient castle with no memory whatsoever except their character's own name ('Daniel'), the player's first discovery is an oddly brief letter from Daniel to Daniel, telling him to descend into the castle's basement and kill a man named Alexander. With Amnesia, you're also getting an engaging first-person adventure game that could have stood by itself had developer Frictional Games chosen to go that way.Īmnesia's plot alone is intriguing enough. Amnesia doesn't, which is one of the bigger reasons why it's the scariest game I've played in years.Īmnesia's also unusual for a horror game, which as a genre tends to put horror first, panic second, creepiness third and the actual game fourth. Then again, Mirror's Edge also gave you the option of fighting instead of running. It nails running away like Mirror's Edge nailed running away, which is a bit of a damning indictment of the latter game, since it was about a sexy free-runner leaping and rolling through the rooftops of a futuristic cityscape, while Amnesia is about a mentally unstable man fumbling doors open and squatting in cupboards.
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