Análises recentes de LegoRobot

Fantastic, but difficult. Death is a harsh teacher. If the devs see this, what about an underwater version of this concept next? There's surprisingly almost no underwater city builder games. The only one I know of is Deep Sea Tycoon from like 2001 and it blows. It's such a niche genre you'd have zero competition but lots of interest overlap from Subnautica/Bioshock fans.

I wanted to like this. I liked Organ Quarter, and this is a very similar game. In fact, much about the technical presentation is superior. Level design is more detailed, gameplay mechanics more complex, overall more polished in most respects and less janky. However, what the devs of Dement do not understand that the devs of Organ Quarter (Outer Brain) do, is that horror games exist to be scary above and before anything else.

Frustration isn't scary. It's the furthest emotion from fear, and the one which does the most to make a player feel fed up and put a game down for good. Some level of challenge is good to ensure the threats are properly threatening, but failing challenges is frustrating. When a horror game frustrates me, it loses whatever grip it had and it's tough to get it back after that.

The main problems which took me out of this game were related to enemy design, placement, behaviors, and weapon balance. The basic enemy of this game looks like it came from the Unity asset store. It's the same humanoid spooperman that looks like a dude in a rubber gore suit that's also in every indie horror demo on itch.io and Gamejolt. To be fair, I saw two other enemy designs besides this one and found both compelling,
save for the buff butcher apron guy with the chainsaw who was also in Doom 3 & Outlast, guess this was his next gig? Having him stand motionless behind the fence with the red lighting was a nice touch though.

Organ Quarter's basic enemy is also a basic grotesque humanoid. Come to think of it, Organ Quarter also has an armless acid spitter like the next enemy level up from the basic one found in Dement. You chose your source of inspiration well, and even improved on many aspects of presentation that were lacking in Organ Quarter, but the result is less than the sum of its parts. It's maddening, not frightening.

I expected this to some degree going in, because this is an early access game. I'm also not refunding at this time, for that reason. There's still ample opportunity to tweak enemy design, behaviors, stats and balance. The pipe needs to at least be able to kill a single basic enemy before it can kill you, or there is no reason it should be in the game unless you were to increase the stagger time when you bonk an enemy so you could at least get away. The basic enemy design should be more creative, there should be fewer in the early areas so as to maintain tension, and how the player encounters them should change in order to keep them mysterious and frightening.

SOMA handles this very well by having the player black out and wake up injured. The monster de-spawns temporarly to give the player a grace period during which to find a health station and regroup. I don't know if that's the right answer here, and I don't really know what would work better in this case, but how it works currently is an exercise in frustration and made me put the game down twice within the first hour.

I understand you can't save anywhere because it would reduce tension by eliminating consequences for death. However as it stands the save rooms are too few and far between such that I lose significant progress every time I die. Which is constantly, because of how numerous the basic enemy type is in the apartments area and how uselessly weak the rusty pipe is. Maybe this is just a thankless slog to make you appreciate better weapons when you get them later?

I don't know. What I do know is that subjectively, the experience was a bad one. On paper it should be great. The graphics are better than Organ Quarter, the gameplay mechanics better developed. The story, what little of it I've seen, is promising apart from some rare instances of cringe dialogue. But something is wrong. I'm not the dev, I can't say for sure what it is, but have offered a few ideas in this review that I hope help you to tweak this into the awesome game that it clearly has the potential to become.

To the dev: Have you played PIGSAW or Meat Shift? They seem thematically consistent with Happy's Humble Burger Farm. IDK what the full vision you have for this game is, but if you combined these narratives to get a story which follows the "meat" from the slaughterhouse all the way to the fast food restaurant it would be as thought provoking as it would be stomach turning. If it's too late to take the game in this direction, consider this concept for a sequel possibly? The synchronicity between these 3 gameplay loops cries out for unification into a whole greater than the sum of its parts.

Unbelievably bad performance on a GTX 2080 Super with an i5-7400 and 32 gigs of ram. This game originally came out on Gear VR. It ran fine on a Galaxy S6. What gives? Not only is everything slow motion, (about 85% fullspeed) but the game freezes periodically and the game logo comes up with "waiting..." under it for a few seconds before gameplay resumes. Also only runs when launched from Steam desktop. If launched from within VR, it hangs at launch and all of Steam has to be restarted because it thinks it's still running.

Deceptively simple on the visual front, and with a relatively simple set of rules, Darknet's difficulty scales along with your skill in a very satisfying and natural way. It's a quality of classic puzzle design: Easy to learn, difficult to master. I come back to this one over and over, really addictive stuff.

Absolutely awful. I'm shocked. Frictional made this? Really? The makers of SOMA? To get it out of the way: Graphically it's very beautiful. Mechanically, it's also very streamlined and polished. Gameplay is jank-free and well thought out. But the game ruining flaw is that there's just way, way, way too much forced exposition in the form of unskippable cutscenes and flashbacks. Perhaps you think I'm exaggerating but it's worse than you expect.

We're talking a flashback or a cutscene every ten to fifteen seconds or less. Not just at the beginning of the game either, this density/frequency of flashbacks and cutscenes keeps up into the caves. It just never. lets. up. On top of this the main character is very talkative. Normally a good thing when that's the sole or primary mode of exposition but on top of everything else? She never shuts up, commenting frivolously on every little thing she does, like finding matches. Who is she talking to?

Why is it like this? SOMA wasn't like this. The flashbacks were optional, you activated them by using the data recorders. Simon talks much more than Philip or Daniel did before him but it's still mercifully infrequent. The exposition is mainly "show, don't tell" in the form in in-world interactions with the mockingbirds, in-world physical clues, conversations with Catherine, stuff you (voluntarily!) read on computer monitors and so forth.

Has Frictional gotten up their own ass? Are they so impressed with their own writing that they see Rebirth as a story first and a game second? One which makes absolutely sure you don't miss even the smallest detail of the plot, even though the constant exposition is very intrusive and immersion breaking? This is Hideo Kojima or Square territory.

Frictional should make a movie if they want to tell a story without gameplay getting in the way. Or they should make a game, which necessarily entails balancing gameplay with exposition, and (as SOMA did) finding unobtrusive means of communicating the plot. Clues, notes, conversations. Not unskippable info-dumps unrelentingly foisted on the player.

I am heartbroken that such a small, simple miscalculation has ruined what otherwise looks to be a very competently made game for me. And from my absolute favorite developer, no less. How, in between SOMA and Amnesia: ReBirth, did they forget how to handle exposition without breaking immersion? It was done so perfectly in SOMA. This is a tremendous step backwards for Frictional. I regret I will never enjoy what the rest of the game has to offer just because of the constant, intrusive exposition.

Autism simulator

I didn't fully understand what I was looking at when I got into this, because I started with Act II and only realized after quitting out early on to play Act I first that it evolved from a Half Life 2 total conversion.

That explains a great deal about the design of Act II. It replicates the mechanics and feel of HL2 in a totally different engine. Unreal I assume. What an odd lineage to go from an HL2 mod, albeit a very sophisticated and well crafted one, to a game which, by virtue of being a sequel to that mod, required the author to recreate a great deal from HL2 in structural terms.

Anyway with that aside, wow! I'm astonished. At first I kept thinking, this is amazing for a free game. Then as I progressed that changed to, "this is amazing for a game, period". Even though it's kind of a tired plot of a zombie outbreak with an evil corporation trying to cover it up, everything is so polished. The puzzles are fun, creative and engaging. The level design is superb. I don't understand why this is free.

You do yourself a disservice, giving this away free of charge. You deserve compensation for your hard work, along with the others involved in this. This isn't at the quality level of an indie or itch.io game. This is at the quality level of a proper game I'd pay $25-$30 for in completed form. I really hope this project is a prelude to making something you charge money for. You're ready for the big leagues, no question about it.

Interesting conceptually, but more useful as a Windows pointing device than a game controller. Because of that, it's really hurt by the lack of a built in mini keyboard, ala Xbone's chatpad addon. I really, really tried to use it with games btw. I configured the ♥♥♥♥ out of them and got about 90% of the way to comfortable playability but could not cross that remaining 10%,

Excellent, engaging game with a truly disappointing ending. I thought maybe it was still in early access? But it's supposedly finished. There is no boss fight. You meet the boss, then...no fight. A cutscene with a deus ex machina where the boss, the big bad who was built up as unstoppable over the course of two games, is defeated instantly and effortlessly with no action from the player.

This also makes the blue army's capture of the Revelation pointless, as it's never used. It disintegrates on the way to the final level. That is awful story telling. It would've been narratively correct to have a boss fight, where you and your blue allies fight to a point of stalemate and seem like you're going to lose, before the Revelation comes to your aid in your darkest hour, delivering the finishing blow.

I'm still upvoting this game because the gameplay itself expands in a satisfying way on the original. It takes the huge open world battles from the latter half of the first game and builds the sequel entirely around them save for a single corridor shooter level, also adding more utility to the ability to exit your tank (hacking vent covers).

Did the dev just get tired? Did resources run out and the game had to be wrapped up in a hurry? There was also that character whose face we saw when she was put into the huge NPC capsule thingie next to Gorgon. Who was that? Was she going to be more central to the story? Why make a unique model and feature her in a cutscene only to never have her appear again?

I did appreciate that the "George" storyline, which seemed hokey in the first game, turns into something actually interesting by the ending of the second game. I expected a twist but not that particular one. I had a lot of fun playing this game, I really did. But there are too many loose ends that never get tied up. Plot points that seem as if they're going somewhere, like the capture of the Revelation and that unique NPC, but then go nowhere. The ending was just a tremendous disappointment given an otherwise truly enjoyable game.

If the dev reads this, it would be a non-trivial job, but the game could be massively improved simply by the addition of a boss fight at the end of the game in which the captured Revelation comes to your aid. You have the assets, if not the animations. You have the level, the set up for a boss fight. It just needs to be actually implemented.

1. Expand the platform you encounter Gorgon on. Make it into a circle or semicircle around Gorgon, and widen so multiple blue tanks can join you and fight comfortably on that area.
2. You arrive and fight Gorgon on your own, He periodically heals himself a little bit by eating NPCs from the capsules. You can shoot the capsules to prevent this but the blue commander admonishes you not to kill the trapped NPCs.
3. When Gorgon's health is reduced to 80%, your allies show up. They tell you that you don't have to fight alone, and assist you in bringing Gorgon's health down to 50%.
4. You receive the nuke from the blue commander and use it. But it doesn't finish Gorgon off, only takes him down to 10%.
5. Gorgon destroys all blue tanks at once. All appears to be lost.
6. Revelation appears overhead and bombards Gorgon, whereupon his frame fails and worm Gorgon emerges
7. Ending proceeds as usual, except that if you destroyed the NPC capsules to make the fight a little easier, the scene of liberating the NPCs is replaced with one mourning their loss

I really wanted such a great game to end on a more satisfying note than it did. I feel as if you have all the pieces needed to create a truly satisfying ending if you want to. It's worth adding this final layer of polish, isn't it? Why bother to do anything if you're not going to do the best you can?

I have seen in the forums that this project was exhausting for you, such that you don't intend for any sequels. Fair enough! But why not polish up what you do have finished, to take it from "great" to "legendary"?

With a proper boss fight, 2 possible endings, and compiling TU 1 and TU 2 into a single huge game, I feel as if it would do very well on consoles. The project of porting it to each platform would be much less time and energy consuming than actually making either game was, while bringing in a new wave of sales with each platform it comes to.