Wirdschowerdn
Ph.D. in World Saving
Yeah, PS4 release basically confirms braindead puzzles, small and linear environments, and spoonfeeding the narrative to the player as if he's a retard.
How is that exactly? Elaborate.
Yeah, PS4 release basically confirms braindead puzzles, small and linear environments, and spoonfeeding the narrative to the player as if he's a retard.
small and linear environments
Penumbra wasn't exactly Skyrim
Aiming at a mass audience is one thing, but this is a genre that doesn't really lose that much from the transition to consoles technically speaking.
Yeah, PS4 release basically confirms braindead puzzles, small and linear environments, and spoonfeeding the narrative to the player as if he's a retard.
How is that exactly? Elaborate.
Skyrim dungeons are basically single corridors with embellishments, so not sure what the comparison is supposed to mean.
The latter part of Overture takes place on several, decent-sized, connected maps, where you aren't given much direction aside from an overarching goal (reaching Red).
Okay, but first you need to point me to all those console games with relatively open levels, puzzles not aimed at drooling retards, and subtle narratives requiring the player to pay attention and employ a measure of critical thought.
Dark Souls is the exception that proves the rule, by the way. (although even it doesn't have any puzzles)
A refreshing minimalism and measured pacing in an industry where 30 seconds cannot pass without an explosive set piece or EXTREME dramatic moment? A genuine sense of mystery? A subtle undercurrent of creepiness built from small environmental details and seemingly innocuous events?
Things being done differently than they usually are is reason enough to get interested for a lot of people. Although, this obviously says nothing about the game behind this.
What does the video consist of? Is it just environment shots like the previous one or is there more to it? I don't want spoilers, but I'm curious, so I'll look if it doesn't give much away.
The thing that we’re focusing on with our games now, and it’s a big design cornerstone, is that we don’t want to try and gamify too much of it. One thing we could have done with pressure is add puzzles around it – oh, before I go into this airlock I need to think about that sort of thing. Then it ends up in this abstract system. You’re not emotionally involved in it. Instead, what we’re trying to do – and it’s a bit more difficult – we’re trying to create this emotional background. You’re thinking about it in a more realistic way than you might have done if it was a sort of puzzle system."