Πρόσφατες κριτικές από τον LegoRobot

The setting is the real star of the show, I could barely pay attention to the story even though dialogue is much better written than in the base game. Many games set in underwater cities, colonies or bases do very little with the setting and are made by devs not knowledgeable about the physics of air and water pressure, or other considerations of marine engineering. You can find many unhappy comments about this, by me, under the Steam pages of games like: Under the Waves, Surviving the Abyss, and Aquatico.

In Bioshock 1 the oceanic setting, potentially ripe with potential...was merely a backdrop. In Bioshock 2 we got a brief corny looking ocean floor walk and a bathyscaphe ride. SOMA went much further, but the one and only stand-alone habitat you can enter (the sphere outside of Omicron) is smoke & mirrors. The interior is a separate map which loads when you cycle the lockout chamber.

No such smoke & mirrors in this DLC. When you're inside the buildings, there's still ocean outside. The whole map is seemingly rendered at all times. There are micro dome habitats with moon pools you may freely surface into them through, no load time, like Subnautica. The ocean floor ecosystem is much more lovingly crafted than in Bioshock 2, the scenery of the transparent tube corridors, spherical pods, buildings, etc. and the ocean is just stunning, makes me wish I lived underwater for real.

The architecture is mostly acceptable, assuming Triton is a positive or ambient pressure structure, not 1atm. It's confusingly presented; lots of spheres and cylinders, convex dome windows, all pressure resistant shapes, but then rectilinear buildings in some places with big, flat windows. I'm content it's not 1atm as it's under a lake, not in the deep sea, and log entries mention decompression sickness. All is well in that case. I noticed the tube corridors are restrained, not supported, correctly accounting for their buoyancy. The only thing I don't see is ballast weight. Minor quibble!

Overall the concept is stunningly well realized, a noteworthy achievement in Unreal Engine 4. Why set a game undersea if you don't do as much as you can, gameplay-wise, with that concept? Well finally, someone did. Kudos to the devs. I'm not yet through it and may update my review, but at the moment all it's missing is a player piloted submersible section. As a marine engineering nerd it's difficult to express how delighted this DLC has so far made me.

Very imaginative premise, beautifully realized. Polished, minimal jank. But oh lord, is the writing cringe. Is this a cultural difference? Do Russians consider the jokes in this game to be clever? The main character has no tonal variation, he is always annoyed and flippant. I have not yet seen him express any other emotions. He's like a 13 year old in a 30 year old man's body, roleplaying Sonic the Hedgehog.

EDIT: Having finished the game, all the issues I identified diminish as the game progresses, writing included. I suspect some of it's down to idioms that don't translate well. There's a lore reason he won't stop being cringe, and early struggles with the mechanics turned out to be a skill issue as there's something of a learning curve. Some areas are still a little rough, but I was unfairly harsh.

Taken as a whole, this is an astoundingly ambitious game which combines loads of mechanics and implements them all reasonably well. Difficulty is well tuned, I beat most bosses by the skin of my teeth. But the real star of the show is the creativity. This is a highly imaginative game, even though it apes Bioshock it's self aware about it and does so lovingly, while bringing enough of its own ideas (like traversible polymer blobs) to set it apart.

As of this writing the experimental version still won't start, returning an error about "missing executable".

Surprisingly fun. From the trailer & screenshots I expected low effort meme jank. Only to discover instead an unexpectedly ambitious open world horror/adventure, with NPCs to perform quests for, & a periodic danger arriving unpredictably, reminiscent of Bowser's Fury. Not as ambitious as most open world games, but it's the work of one dev, and that's the wrong metric. It's *more* ambitious than one would expect from what looks, on the surface, like a mascot horror cash grab. He didn't need to go this hard, could probably still have sold toys, but he did and that effort shines through.

Positively scornographic. Gigerty gigerty goo

Superb. Splendid. Soulful. One of my all time favorite early VR games. Sadly it doesn't go beyond the title screen on Index, and I'm not willing to re-buy Meta hardware just to play this again. I do wish the developer would fix this up for modern headsets as I've given him my money twice now.

Overall a superb followup. Some convoluted lore but the ending sold me on it. Only nitpick is some parts where it was unclear how to progress. Running from Buck around Pogo's house, it wasn't clear I needed to enter the operating room from the opposite side, for example. A few other spots like this snagged me, and could do with some streamlining. Playtesters can help. With those fixed, this is a certified horror classic.

I REALLY wanted to give this a recommend. The thumbs down isn't a 0 out of 10 or even a 5 out of 10. It's an 8 out of 10 with such serious flaws as to completely ruin the experience. Namely, collision bugs. Very frequently I'd fall through level geometry and have no way to kill myself, I would have to restart from checkpoint via menu. This would not be bad enough by itself, but something similar happens during the final boss. You're wheeling up a penguin road, which has guard rails until suddenly at the end of the sequence it stops having guard rails, and the extremely touchy steering means either I'm pinned to one side, and thus flung off the road, or I fall through it when it begins to curve upward. The guard rails issue is also one of many examples of inconsistencies in the game's mechanics, where something works a particular way 90% of the time, but in special cases it behaves a different way. At its best, this game is a delight. At its worst, it's an infuriating mess, deeply reminiscent of Sonic Adventure but I think not in a way the developers intended.

I was gifted this so I could play with bros, and while I've been playing it since I was 9 years old I have some crits now that I also had back then. Why share them here? To upset nerds. ID didn't do very much with their own engine, in the same way first party Nintendo games never pushed their own hardware. Given everything possible in a 2.5d engine as demonstrated in BUILD engine games like Duke 3D. You might say "That's a more advanced engine!" but Rise of the Triad isn't, and it still had vastly more features. Doom's got rising/falling sectors used for doors or elevators. It has teleporters, maskwalls, monster closets, switches, and...what else? Very anemic feature set. You might also say that didn't stop mappers from creating a wide variety of experiences, but that's mostly thanks to source ports which added the features it ought to have shipped with. Even Marathon did more with the same sort of engine.

If you played all the Room games and want more, this isn't *quite* up to the same standard but it's very close, and there's a lot of content.