Nylige anmeldelser av LegoRobot

Rich, chocolatey and extremely polished. Native gamepad support, native ultrawide support, even the menu system and other basic infrastructural aspects of this game are polished to a high shine, and that's before you even get into the content proper. Slow paced, hyper-detailed and cerebral, this reviewed poorly on consoles, probably because ADHD children wrote it off when nothing jumped out at them from the shadows within the first five minutes of the game.

Patient, seasoned horror game afficionados who stick with this title will be handsomely rewarded however. It's beautiful, the story is well told and goes beyond the source material, there's plenty here to baffle and fascinate you even if you are an expert in Lovecraftian lore. The game touches on prehistoric psychedelic plants, psychotronic "mind machines", the occult, ancient subterranean civilizations...there's a lot going on here.

It also looks absolutely beautiful. Still images from this game could be confused for pre-rendered environments from a later Myst title. These environments are a joy to explore and only get stranger and stranger the deeper into the game you delve. Gameplay is varied, and puzzles are just the right difficulty without holding up progression for too long...provided you pay careful attention to clues in the environments.

The comments complaining about the puzzle difficulty were doubtless made by people who never played a Myst game. They're dead simple by comparison and require only that close attention be paid to your surroundings. "No clues" someone said in their review. Ha!

Now, I admit I had to consult a walkthrough once or twice, but more often than not there were indeed clues to be found, I'd just breezed past them without noticing. I suppose the developer could do more to call attention to said clues. The engraved symbols in the glyph puzzle found in the subterranean cavern could perhaps be made to glow, for example.

Anyway both sound design and the writing are top notch despite being areas in which horror games most frequently drop the ball. For $20 this is a steal, I feel like I'm getting away with something. All I could really ask for on top of all this is VR support.

This game is like doing acid with strangers for the first time. Everything comes out in the open, they pour their guts out, tell their life stories and you get a very intimate view of their emotional landscape whether or not you wanted it. On the one hand it's brave of the author to bare himself so completely to strangers. On the other hand, I didn't expect it going in and as others have noted, it's sort of an uncomfortable imposition to dump all of that on somebody without warning.

Like the acid with strangers scenario, you come away not exactly regretting it because you cannot bring yourself to be mad or upset about what you saw. It's uncomfortable not because it's alien but because it's so deeply relatable. It's just the kind of stuff we all deal with internally and never show to anybody else. Seriously, a rejection/breakup chatlog? In a game, really? I "oofed" out loud at that. Ouch, owie. May as well have stuck your nudes in here as a skybox texture.

Truly, I don't regret it. Because whenever somebody reveals themselves like this, it reinforces that other people are real inside, all the way through, rather than hollow shells or P-zombies. Sonder, is the word I believe. That other people have had long, dark nights of the soul like you and in this case, one of them is simply being more candid about their negative emotions than is socially normative.

I did cringe though, and it made me stop and examine why. Why are open displays of normally concealed pain something that makes me cringe? Because my own open displays of emotion in youth were punished? Because like most I have been socialized to hide that stuff from everybody around me? Maybe he hasn't been reprimanded like that yet, or maybe he has elected to live his life in a richer way, to be honest about and broadcast his feelings. Is that wrong? Or just unusual?

I'd like to think that my own choice to emotionally truncate myself, to trim away the branches of my feelings in order to spare myself the pain of breakups like the one recounted in this game, was the only way to survive. But then I meet guys like this who didn't do that, but still survived. I deleted huge parts of myself believing it was the only way to make it. Some of those parts were my favorite things about my personality, now gone, shredded up and thrown in the fire so I could rebuild myself as a more durable and insensate person with fewer vulnerabilities. But was that really necessary?

If not, then the author is doing a service by putting the richness of his own emotions out there for all to see, even if it is an uncomfortable experience for the viewer. Because it makes people like me consider the possibility that, by getting so efficient at pain avoidance, we've really been cheating ourselves out of opportunities for personal growth. He makes me believe that you can survive pain without destroying and rebuilding yourself. That I could have kept all the neat stuff I burned.

Art is whatever makes you feel. The only bad art is what we ignore, or don't even notice long enough to make the decision to ignore it. Very clearly this game has provoked a strong reaction in people, both positive and negative. That makes it art. It's something I haven't seen in many games, the standard walking simulator gameplay notwithstanding. The ultra-cringe in retrospect might just be how society has programmed me to react punitively towards uninhibited revelation of normally hidden emotions. Making me think about this also means, imo, that this is a worthwhile creation and worth a playthrough.

I wanna have a beer with the author of this game, and I don't even drink. I'd like to give him a hug and talk him through ♥♥♥♥. But then again if he can make something this raw, honest and unafraid, then he probably does not need the counsel of an emotionally crippled, dry, grey, barren husk of a man who sacrificed all of the wild warmth and color that's still alive in his heart because he was defiant enough to protect it from the world, where the rest of us caved.

I realized as the game concluded that it's actually very common to be so candid...in writing. Authors do it all the time. I do it myself and that therapeutic quality, plus provoking sonder in others and experiencing it myself, is the biggest reason why I write. So why does it feel so transgressive in game form? Maybe because putting you in the environment and making you an active participant makes it more intense/impactful? I'm really not sure.

As a parting note, this game has given me reason to wonder about what we will leave behind of ourselves. For past generations it was only photographs, writings, then more recently audio and video recordings. But for every generation to come, it may include interactive digital, and soon virtual, walkthroughs of their minds and hearts. To re-experience their subjective feelings, to browse through their memories, hopes, fears, triumphs and losses as though we're doing so from inside their mind. Probably the closest we'll ever come to meeting a ghost.

Pretty close to the worst game I've ever played. Died 6 times trying to figure out how to make a fire. Logically you'd drop wood from your inventory in a pile, then light a match and drop it there, right? I mean after all there's a mechanic to let you precisely place the wood pieces on the ground, so that must be how you do it. And why would the game let you light matches and hold them, if not to ignite stuff?

Nope! It's in a radial menu you need to know is there, which no tutorial ever explains the existence of in advance. I had to look it up online when the game itself should've taught me how to do it. How you make a fire in the stove in the game's intro is not how you make campfires, so what was the purpose of that section? It didn't prepare me for ♥♥♥♥.

Then even after you figure out how to make a campfire, you can fail in your attempts based on some chance factor, which I did. Over and over until I ran out of materials to make a fire with, freezing to death. This happened 4 times before I became fed up with the whole mess. I bought this game to be entertained. Freezing to death because a random number generator decided you can't make a campfire is not entertaining.

Maybe there's a good game hiding in here someplace amid the Dreamcast graphics and Tumblr noses. I don't know and will probably never find out because the way basic actions are handled is illogical, frustrating and unfair. Haven't refunded it yet because I got it on sale and may as well give it another shot eventually, but it made a terrible first impression.

Absolutely phenomenal, *compared to past Terminator games*. Compared to the best of the best PC games it's "pretty good". 100% recommended purchase for Terminator fans, 80% recommended purchase for everybody else. There's nothing wrong with it exactly. It just "could have done more". The depth of gameplay is only just exactly up to snuff for an RPG lite shooter in 2019. But for a title made by the devs of Rambo, it's miraculous they cleared that bar.

As everybody noted, the devs were extremely detail oriented in making sure everything lines up with original Terminator canon. The terminology, the technology, the look and feel of the future war. The only two oversights I identified are that HK Centaurs are called "armored spiders" and the mag-gogs aka magnetic goggles used by tech com are referred to as "ultravision" here, and there are no monofilament razor wire traps as in Cameron's notes.

Some traps of this nature necessary to use the goggles to identify would've been cool, as Skynet views humans more like pests than enemy combatants. But those are literally the only slip-ups I noticed! These devs *really* know their Terminator lore. If they make a sequel I'd recommend perusing this lore repository for more authentic world building details: http://www.goingfaster.com/term2029/

There's no jank. Human models look fine except the faces, which have better detail, texturing and shaders than HL2 for example but markedly worse, more simplistic animation which makes them look more robotic than the terminators. You get enough one on one face time with the human characters that this is a problem. The superb writing and voice acting manage to make me invested in them anyway.

There's sex in this game ala Mass Effect, which at first I worried would sully the dramatic tone. That is, more than likely, the reason why it's getting such dismal scores from big mainstream game review sites, as heterosexual sex in games is insufficiently woke. Probably letting us romance a man, or a transwoman with problem glasses and hair the color of urinal cakes would've ensured better marks from these publications (at the cost of being true to the films).

But if you think about it, this is a game about fighting for the future of the human race. Some repopulating has got to get done, and fits thematically into the scenario. So I'm not against the sex scenes, I simply feel you should have to pick between Jennifer or Baron. Being able to have both crosses the line from realistic and thematically appropriate inclusion into "Leisure Suit Larry: Future War" territory. Next time make us choose.

In the same vein, the "hanging around the base talking to NPCs" sections include optional bits where you can express interest in the personal lives of characters and gain appreciation points. This goes a long way into reinforcing the humans versus machines theme by driving home the humanity of the characters. In some past Terminator games like Skynet you don't talk much, you just run around and destroy ♥♥♥♥. You're not that different functionally from the terminators besides being made out of meat.

In this game the narrative makes sure you know you're human and soaks you up to the eyeballs in the humanity of the Resistance, against which the contrast of the cold, cruel and mindless killing machines you're up against appear all the more alien. This contrast is best exemplified in the Terminator theme itself: A sweeping, emotional instrumental ballad on one side, and relentless metallic clanking in the background, both growing ever louder, ever stronger as the crescendo approaches. The theme itself *is* the future war, and this game's narrative captures very well the dichotomy between warm, soft humanity and cold, hard machines.

Having said all that, this is an extremely promising portent of things to come. I only hope the devs learn from the mistakes of every movie past T2 and, if there is a sequel, they don't just make more of the same. Here's a bold new direction: Let us be Skynet. No other Terminator game ever did that, it would be truly fresh and new.

Fighting to complete battlefield objectives like securing mines, power plants and factories. Jumping into the body of the next nearest killing machine any time the one you're in is destroyed, perhaps with some lite RTS elements permitting you to issue general commands to all nearby units and orchestrate some coordinated assaults on resistance fortifications with all the different types of hunter killers in Terminator canon.

Each stage should have an extermination quota requiring you to kill a high percentage of hiding survivors before moving on, and specific high-threat individuals marked for termination would be their own mission objectives. The films make a big deal out of Skynet's hit list and methodical pursuit of those priorities, let us *live* it.

Finally, VR support would be rad. If you don't have the resources or desire, just unlock the functionality and let modders do their thing, ala the Mother VR mod for Alien Isolation. Don't be like the Observer devs who dangled VR functionality before our eyes only to then lock it away. You've built a lot of good will with this game, do not make the mistake of squandering it.

I expected very little being that the first thing you see on launch is a list of bugs they know about but can't fix. I was shocked as the game just got better and better as I played, defying that expectation. Environments are visually distinct despite it all taking place in a forest. There are cool scripted sequences where you're trapped someplace foul and need to escape. There's a gut churning slow motion, "race against time to unlock a door" type scare that was the highlight of the game for me.

It was easy to get lost but that's sort of the point, being that it's a big part of what makes forests scary. Even so, hunting for the last blue crystal on the final map took forever. Perhaps after the player has been hunting for an hour, make the remaining crystals send up vertical blue beacons into the sky to make finding them easier?

The story was sort of interesting but not really scary, and extremely verbose. Every single note was an imposing wall of text. It is a big challenge to deliver a compelling story in small chunks, but it is imperative if you want the player to pay attention and be affected by it. Reading is not scary. Reading a long note defuses tension. By the time I finish, I am not scared anymore. The most unobtrusive approach I know of is to deliver the story environmentally, and through short audio clips. Like the radio in Penumbra Overture, the voice in your head in Black Plague, the tapes in Bioshock, etc.

It was interesting to follow what became of the various characters, but it took some work to keep track of who's who, who did what and for what reason, etc. A story of any real complexity should just be a book. It is too much to ask of the player to follow all that and expect them to maintain a feeling of anxiety/tension. Horror stories for games should be simple, straightforward, comprehensible, but compelling.

Some concept or essence which is universally discomforting should be the core of the story, and the narrative should present that discomforting core to the player in the way that a frame presents a painting, or a golden ring presents the diamond. Look at how simple the story of the original 1979 Alien ultimately was, when you boil it down. Look how simple the plot to The Thing was.

Graphically, it looked very nice. Mechanically, it played well and I experienced no jank, contrary to what the opening screen led me to believe. It worked out of the box with the gamepad, always appreciated. The environmental design was extremely strong. Every part of the forest had it's own identifying characteristics. I especially loved the swamp, with the platforming to elude the swimming creature. Similar to the sequence in the flooded hallway from Amnesia but you mixed it up enough to be fresh.

Monster variety was very good. Interesting and effective choice to use natural animals. It worked! As scary as the wolf in the early mine sections of Penumbra Overture. The rabbit in particular who you never fully see as it drags your offering into the burrow was neat. The pagan themes of offering tribute to each of the animals was original and cool. The sequence in the house where you're rewarded for saving the rabbit, and punished for sacrificing it was clever.

There's just so much to like about this game. The only sticking point is the story. Which is not bad, but written as though for a book, rather than for a game. If you want to publish a horror novel, go and publish a horror novel. Stories for horror games must be written very differently to compress it into such a limited space while sacrificing as little as possible of the core conceptual essence of the story which makes it scary.

If feasible, with the revenue from this game I dearly hope you'll hire a published horror author whose work you think highly of and task him or her with writing a story which is simple but conceptually strong. One which is scary on it's own merits, even before it is made into a game, and which can be delivered in many small installments which won't bore or confuse the player.

Story telling is really the missing link in modern game design, because everybody thinks they can write well and nobody likes being told anybody exists who can write better. The project lead always wants to put their own writing in the game, but that's like letting the programmers make the art. Seek out a horror author whose work you are impressed by and ask them to do some proof of concept demonstrations of cramming a bone chilling story into short notes/audio clips.

With that singular shortcoming addressed, I think the next game you release could really blow up. All of the other requisite qualities are present. You clearly know how to not only make a technically competent and good looking game, but a streamlined and polished game which is easy and entertaining to play. Many good game design decisions here, to a frankly impressive degree. Some cute jokes here and there as well, that matrioshka bucket poop nearly cost me my life by a heart attack. :) I will look forward to your next release.

I'm gonna try to be balanced here and not only say what I didn't like, but what I thought they did well.

First, it is a technically competent game. It is well made in terms of the graphics, menu interface and gameplay mechanics. Clearly this developer has the technical chops needed to make a proper, modern horror game.

Secondly, it has some good ideas. The forklift kill, the little micro scares like the soda can coming out of the machine, the beginning on the train, the abandoned town. The way they ensure you have ammo when you need it but not when you don't, the note finding in your house section of the ending.

Now, the bad. It feels like they just threw in everything they liked from other, better games. It ticks all the boxes of tropey horror settings. House, cave, factory, hospital. Instead of consistent exposition delivery, it includes a bunch of vectors; ambient radio audio in the environment, readable notes to find, the player talking to himself. Boy does he talk to himself. He talks and talks and talks.

Rule #1 of story telling is show, don't tell. The main character does loads of telling, mostly stuff the game could've shown us. Environmental storytelling doesn't just mean notes and phone calls, although the phonecalls were the least obtrusive vector aside from the ambient radio. Penumbra did this decently with the radio calls from Red.

The story was also kind of dull. I give it props for not being convoluted. A lot of horror games are the first project of their dev, so it's a passion project based on something they wrote when they were 17 and they are not receptive to the suggestion they hire an experienced horror author. Their game, their call, so they use their own writing and surprise, it's not great.

The story impresses on us repeatedly what a ♥♥♥♥♥♥ childhood Matthew had, how terrible his father is, and the voices in his head are harsh and cruel, reminiscent of Clarence from Penumbra: Black Plague. A lot of the stuff in this game seems like stuff the devs saw in other horror games, liked, and decided to cram into this game whether or not it made narrative sense.

The result in this case is less than the sum of it's parts. I felt bad for Matt but never scared. The monsters were the exact same monster found in almost every other horror game ever made: Pale, nude, disfigured old men with monster faces. I call them spoopymans. They're the bad guy in absolutely every indie horror game on Gamejolt and Itch.io.

I don't think those were purchased assets. If you modeled 4 different monsters, you had 4 opportunities to be creative with monster design. Why are all 4 nearly identical spoopymans? SOMA demonstrates you can keep fear of a monster fresh even after the player has fully seen it by switching it up with new monsters every so often. You almost do this, except it's only a slight cosmetic variation on the one before it with more hit points, and in the later stages, which can spit acid.

Even the one monster I'd call a boss is just a spoopyman wearing a raincoat and gas mask, with a human head flail. Look at the monster variety and creativity in Silent Hill. Or Lost in Vivo. I am not saying steal from those games, I am saying take note of the variety on offer. It isn't just an endless parade of slightly different spoopymans.

I feel bad writing this because of the technical skill this game represents. You guys clearly spent some time mastering the tools used to make all this. But it feels like a quilt made from pieces of better games. You saw stuff you liked so you copied it without really knowing what made it scary. Like how cargo cults copy airports in the hope of summoning supply planes.

There was ambiguous danger in the form of your missing wife and daughter, kudos for that, that's elementary spoop 101 stuff. Your sanity/accuracy of perception was called into question at the end, pretty standard cosmic horror insanity effect stuff ala Eternal Darkness/Edge of Nowhere/Narcosis. But where you try to leverage universal, primal sources of human anxiety and discomfort in the references to Matt's abusive father and the twist at the end, it falls very flat, very hard.

I don't know exactly how to fix it without a totally new story. I think doing exposition in smaller chunks would help. I think having Matt talk way less would help. Perhaps he has a phone which only intermittently has enough signal to receive voice messages or something. The factory has one of the longest, most egregious examples of Matthew spoon-feeding the player the story as he talks out loud for ten minutes to an empty factory floor.

I urge you to make more games, because mechanically this game is well made. I would just propose that you enlist the services of a concept artist specializing in monster design, and a horror author whose work you consider suitable. Those aren't things you can pull out of thin air yourselves. Having the project lead do the story is like having the programmers make the art.

Skillful story telling (and in particular conveying a comprehensible, compelling story in a reasonably small number of concise chunks through the arc of the game) is the most commonly overlooked, yet most essential element of a compelling game. Look how many otherwise excellent games are let down by clumsy, convoluted stories. JRPGs are kind of world famous for this, but it happens too often in horror.

Please do not take this as an attack on the ability of whoever came up with the story. I do not mean to say they are bad at it so much as I mean to say that while anybody can write, not everybody can write something which fits the constraints of a horror game format and still tells a captivating, chilling story in bite sized sections that don't bore the player. Boredom isn't scary.

There's other minor stuff, like the high frequency of "run from a spoopyman" sections. These were mostly done well so they are scary but easy so you don't die so many times you get frustrated and stop being scared. The game is also very light on puzzles, with the few puzzles being so simple and straightforward you can barely call them that. Again, a good decision since being frustratingly stumped by puzzles destroys mood in a hurry.

Overall though I'd give this a 6/10. Not even bad. A somewhat good game which I have written so much about just because it clearly could've been better. You have the infrastructural requirements of creating a modern game nailed down. You just don't seem to know for sure what you wanted this game to be. Like it would come together on it's own if you just started making it, but it didn't.

In your next game, before you so much as touch the Unreal dev tools, write a story or find someone to write a story for you. Make sure the story is clear and comprehensible. Make sure it's simple enough to distill into a relatively short series of notes, audio files, etc. Most importantly make sure the story is potently frightening on it's own merits, before you start building any game around it. If the story stinks, the game will suffer greatly for it.

Editing review because game was patched and works fine for me now. Superb experience. Crude art but it only really sticks out in t he cinematics. Ingame aesthetic is sufficient and sets a fantastically dreary, dismal mood. The lore and world building is wonderfully executed, detailed enough to be intriguing but does not drag on beyond the player's attention span. The story is fascinating and well told, puzzles are fun and intuitive, I felt compelled to get every ending & would recommend this game to any horror lover.

Absolutely fantastic. Exactly what I've been looking for. I am only bothered there's not more of it.

Absolutely ♥♥♥♥♥♥♥ baller. I expected a silly meme game but got a thematically beautiful Zelda/Metroid-like with top shelf internet humor. The only thing I'd change would be to have 5 unique ability powerups per world instead of getting all 5 in the first world, then 2 small upgrades in the entire rest of the game.

The first world feels so fresh and amazing because you're constantly getting new abilities. It's like a Metroidvania in microcosm. But it feels less fresh after that when you don't get any new abilities, just the ability to break glass with the sword which is only used in one world, and a camera upgrade (which is put to much better use, admittedly).

Since there are only 4 worlds, having 5 unique ability powerups per world seems entirely feasible, at just 20 in total. It would sustain that feeling of freshness and constant discovery from the first world, throughout the entire game. Perhaps for a sequel? The worlds could be themed after different meme genres of music like New Retro Wave, Seapunk, Slimepunk, etc.

The final note is that this game absolutely screams VR. It is absolutely a natural fit for VR and I'm surprised it doesn't already have it since nothing about how the HUD is set up precludes adaptation to VR. The items are just floating models or sprites and menus could float in front of you easily enough.

Unbelievably good. Heretical to say this, but on the same level as first party Nintendo or old Rare platformers. Best 3D platformer since Psychonauts, and singlehandedly healed my soul after the crushing disappointment of Yooka Laylee. I have nothing bad to say about this game. It overflows with soul, charm, humor, wit and polished game design. It borrows heavily from other platformers, but only the best, and always with an original spin. I'd forgotten games could be this good.