Butchering Pathologic – Part 3: The Soul

[Following on from the first two parts, this is the grand finale of Quinns’ evisceration of the game Walker described as “Oblivion with Cancer”. As a compliment. Lots of spoilers, but you should read it anyway.]

Butchering Pathologic
Part III: The Soul

There are two themes that run through Pathologic like a couple of sharks lurking in a swimming pool. By themes I mean something that’s vital to the vision of the game yet is detached from the structure of the game proper- something like Half-Life 2’s Orwellian influence, or Beyond Good and Evil’s cartoon imagery. In the case of Half-Life 2, there’s nothing about City 17’s hi-tech tyranny that directly affects your running and gunning. Likewise in Beyond Good and Evil the fact that your hovercraft is repaired by walruses doesn’t make a difference when you’ve got a puzzle in front of you.

In the case of Pathologic, the two themes are meat and theater. And at least to my mind, they’re what propel the game from being interesting and brave to being beautiful. It’s an ugly, ugly beauty though.

The game’s obsession with the theatrical is what you encounter first. After selecting New Game you first find yourself up in the dress circle of an empty theater, looking down at the stage. On it are the three healers, and they play out a short scene for you where they argue fiercely over which of them has the potential to save the town. The house lights then dim, and the actors fall silent. There’s nothing for you to do but make your way to the doorway that leads down from the stalls, and it’s only when you go through that door that you’re finally faced with the character selection screen. Oh, yes.

Subsequently, when you start playing the game proper it’s difficult to see yourself as anything other than an actor fretting upon a stage. This is in a large part down to the Executors.

The easiest way to describe the Executors is as the game’s stage hands, or maybe directors. They’re six feet tall, and all you can ever see of them is a floor-length cloak and a huge raven mask. Everyone in town can see them yet no one ever questions their existence, so neither do you. The first time you meet one they’ll calmly explains the rules of the game to you, but from then on all they do is watch events unfold like curious narrators. And while you never see them move, they still take on a terrible dark weight because as time goes on you start to think of them as the city’s death-dealers. You learn to dread them because the first sign of any significant character falling ill or dying is an Executor standing outside their door. It’s not long before you start wondering if that raven head is even a mask at all.

And this is, by the way, what happens when you fail to complete a day’s quests. A relevant NPC who may be vital in future quests has an Executor posted outside their house who bars your entry. It’s all the more disastrous because it’s always your allies who fall. I think the Executors’ exact words are along the lines of “These people must die because of you, because these are the only people who would die for you”.

But all these dramatic devices feel a little unfinished and fluffy. Yeah, there are optional vignettes played out at the town’s theater every night, and there are the abstract mime creatures that make appearances as supernatural messengers, and it all adds colour to the game while still letting it remain a suitable shade of dark brown. But I’m pretty sure these fourth-wall breaking theatrics were only meant as some kind of failsafe to ensure the player knows just how dramatic the game is. I’m only really writing about them here to give you a better sense of Pathologic’s mad ambition.

Or maybe I’m being unfair. It’s hard to tell, because Pathologic’s wussy thespianism pales in comparison to its meat story. Oh, man. Let me tell you the meat story.

The town you’re trying to save isn’t built on hot slaughter, or cold execution, but something in between. It’s built on the lukewarm killing of perceived necessity. The efficient industry of the town’s abattoir seems to leak out onto the streets somehow- gangs of kids, madmen and drunkards all kill unthinkingly with empty heads and scavenged blades. Life feels cheap, a notion not helped by that daily deathtoll in the hundreds or thousands.

In fact, one of Pathologic’s great secrets is that each of the healers has to resort to inflicting death in order to keep living themselves. Anyone playing the Bachelor is going to find themselves roaming the streets at night with a gun, killing would-be murderers for their valuable possessions. The Devotress can only stay alive by harming more than she heals with her supernatural touch. And I’m probably biased but I think it’s the worst if you play the Haruspicus, like I did.

As the Haruspicus you get access to your father’s arcane laboratory, a place of dusty scrolls and copper pots hidden in a locked warehouse. Here you can make tinctures and tonics using recipes you can find or buy, but you’re a busy man. You rarely have the time to go on rambles in the countryside beyond the town to harvest roots and herbs, and even when you do it’s a tricky process finding them in the crispy grass. So instead you have to trek out into the marshes and consult with the Worms, strange inhuman nomads who talk in a language that’s already ruined even before it undergoes a cheap translation from Russian to English. The Worms have the plants you need, but they want to ‘water’ the earth with human organs and blood in return. And so, playing as the Haruspicus, you’re often thigh deep in swamp water, your arms are red to the elbows with blood and your pockets run over with stolen human livers.

It’s another of the game’s bizarre divides. The sole purpose of your character in his or her life, and your sole purpose in the game, is to save lives. Yet the humans in this game are only ever made out to be so much water and gristle. In Pathologic, life is cheap, life is weak, blood is thin, and water is thick.

This de-mystifying of human meat continues with the town’s ancient past, which hints at a worship of bulls. There are references to a horned earth mother, and near the Abattoir there’s a huge sacrificial plinth. But at the same time, this is a town that’s only ever bred these holy bulls and cows for their meat and skin, so the town is eating and selling the same meat that they consider their God. There’s a general blurring of flesh and life here. The town’s river is referred to as the Spine, the main streets are veins and the industrialist’s manor is called the Heart. If you ask for directions from any townsperson they always give them to you in these biological terms. “Go down the neck and through the mind”. And remember earlier, the rumours of dead bodies being disposed of with the madmen in the Aviary. Cannibalism is never mentioned- that would be crude. But the game does play with the notion that we are all one flesh, and that this flesh is cheap.

Okay. So far, all this is so much surface froth, just like the theatrical side of the game. Where the theme of meat eventually differs is that it ties into the game’s plot. The theater is never anything more than a whimsical idea, but the meat grows deep. The meat story actually comes to a frightening, disgusting conclusion.

It happens towards the end of the game’s time span, maybe day eight or nine. By this point you’ll have felt out the limits and rules of the game and built yourself a routine. You’ll probably start the day by visiting one of the big kids who, for a price, will mark new infected areas on your map. And you’ll definitely be chatting to everyone you pass on the way, seeing if they’ve got anything you need that they could be persuaded to part with. You’ll probably be gathering up whole armfuls of empty bottles too, and filling them at wells on your way to check up on whoever’s assuming command of the town on that day.

In theory you should be calm in your own security at this point, but really as a player you’re more tired and sick than ever. For twenty five, maybe thirty hours of game time you’ve been listening to nothing but the lies of the healthy, the moans of the sick and that endless industrial thumping, and it’s been for nothing. Trekking across town and ducking danger has become exhausting, and the longer you play the game the more the illness spreads and bigger the mystery gets.

Then, for one mission or another, you hit M to bring up your fullscreen map and plan your route. But the game doesn’t give you your map. With all the gentleness of one of those cheap scare websites that make sure they have your attention before flashing something gory and noisy up on the screen, Pathologic instead gives you a primitive anatomical cutaway of a bull, drawn in the same style as your map. It’s the most singularly gut-wrenching moment you can imagine because after it’s done scaring you, you start scaring yourself. You start understanding, and everything clunks (not clicks) slowly into place.

First, you see that those district nicknames actually apply to the parts of the animal. You see the spine, the veins, the heart and the neck, and more besides. You see that the Aviary is the kidneys, the Abattoir is the bowels, the train yard is the genitals.

At last you understand what the town is, and it’s all the worse because you’re trapped inside it. And because you understand the town, at last you can understand the disease. Your realisation of its true nature happens slowly, like a sun disappearing over the horizon. It’s not the town that’s sick. It’s the earth that’s fallen ill. That’s why the quarantines aren’t working, that’s why the wells are drying up, that’s why the buildings themselves are darkening and rotting and growing great scabs on top of their brickwork.

All flesh is earth, all earth is flesh.

As the Haruspicus you eventually get access to the Abattoir. There you find out that whenever a cow is killed, the blood is always drained into the same hungry pit where it slips away into the darkness. You figure out that over thousands of years the blood has pooled beneath the town, and now it’s that same blood that’s become infected. You start siphoning buckets of blood back out, and with this sample of the infection you can finally fall back to your laboratory and start manufacturing a panacea.

As the Bachelor you talk to the architect who designed the Polyhedron, and you learn what allows the Escher-like structure to stand. The spike at its base pierces deep, deep into the earth, where the bull’s brain is on your map. It’s that wound that’s gotten infected. Your achievement as the Bachelor is in rallying the town to pull down the Polyhedron, which has the side effect of forcing the kids out of it to take the place of the deceased adults.

Incidentally, the microcosm of kids within the town takes on greater significance once all this has happened. The kids are uncaring of the adults that built the town, the adults are uncaring of the earth bull they live on, the bulls are eaten by the adults, and at the end of the game the deceased adults are replaced by the kids forced to leave the Polyhedron. So it goes.

As the Devotress I’ve got absolutely no idea what you do. Sorry. She seems to disappear around day 8, and I’m not a big enough masochist to play through this game again as her to find out why. My time with Pathologic is over. And before anyone points this out as a problem with the game, I should point out that on finishing Schindler’s List there’s no great desire to rewind the tape, crack open another beer and watch that sucker again.

So the healers do beat the disease in the end, and they do it by forgetting everything they know and coming to believe in something bigger than themselves. Maybe it’s a message about wisdom, and about not losing sight of your past and your nature as you grow. Or maybe it’s about something else entirely. I think anyone who plays this game to the end is going to come away with a different message, just because it’s thought provoking. There’s no need for it to be conclusive. It’s just an experiment in decision making. It’s just a game.

An awesome game.

Back when it was released in Mother Russia, Pathologic was drenched in awards. Game of the Year, in many cases. And yet no one outside its home country has even heard of it. That makes me more upset than if it were a book or movie, because a great book or movie can still be discovered years after release. Games only have a limited lifespan in which to achieve recognition because after that they become outdated, and few people are going to want to go near them. Pathologic’s barely five years old and it’s already almost unplayable, and if you don’t believe that then hunt down a copy and bear witness to your own revulsion at the hideous visuals, the repetition and the slow pace that make it such a great game in the first place.

In a few more years Pathologic’s going to be permanently lost to time, and I don’t think there’s anything we can do about that. But I think some good can still come of the loss.

Now you have an idea of what you missed this time around, maybe you’ll help prevent this from happening next time. Maybe next time a game like this comes along we can both grab it, and scream about it in a way that I failed to do at the time. It’s the Internet age now, hype and excitement are easy to spread! We can spread them! I’m sure that together we can save whatever comes next, I know we can. We’ve got to do something. Otherwise we’re all going to be stuck playing Roboman: The Fightening for the rest of our adult lives.


  1. Rook says:

    No mention of the true ending/story then?

  2. MPK says:

    Thoroughly enjoyable series of articles.

  3. Fat Zombie says:

    Ah, bugger. This sounds awesome, but now it’s spoiled. Would you, kieron, still think it would be worth playing it after you know the twist?

    Also, surely your pleas to help games like this are hindered somewhat by the rubbish scores you give them in PC Gamer?

  4. Man Raised By Puffins says:

    I’m avoiding reading these as when I do read articles like this thinking “well I’m never going to play/watch it now, am I?” I tend to end up regretting not experiencing it first hand and un-spoiled. Hence why I’ve put an order in for the game this time instead.

  5. Rob says:

    Fat Zombie: This series of articles was only introduced by KG, they’re written by Quintin Smith.

  6. Fat Zombie says:

    Fine: Quintin, would you still recommend Pathologic, even when spoiled?

  7. Thelps says:

    Can I just say, I’m downloading the game as we speak, but even this series of articles by itself has proved truly… enriching to me. Seriously well-written, inspirational stuff. Games journalism really isn’t just limited to ‘buy this game because…’ type stuff. This kind of quality of writing and observation really helps me (personally, at least) to get more from my games without feeling like a geek because I have no one to share it with (my friends are all RL devotees…).

    Thanks RPS! /endfanboyism

  8. Joe says:

    I’m furious with you Quinn. You convince me to actually finish playing the game first, then I find out my CD is missing and I’ve lost the copy I had, then I think ‘well, I’ll read the spoilers and then I can go back to playing Fallout 2’ and then you drop this megaton of mystery with the devotress.

    Now I need to buy a copy and play it as her, knowing full well how broken and unplayable to game can be. ARGH!

    Throughly well written articles though – and you’re spot on about how masochistic the first part of the game is. I played as the Bachelor when I did it before and barely scraped by to day two!

  9. Moorkh says:

    Without having read this last part, what would you recommend playing the game with the first time round? I tend toward the girl…

  10. Kieron Gillen says:

    I believe you can only play the girl if you’ve played the whole game with one of the other two.

    My honest gut take: I suspect that since it’s 40 hours, it will burn people out before they finish it. It’s something, especially for that seven-or-so-quid level, that you’ll be glad you’ll have played though, even if it’s for a fraction of the thing.


  11. The LxR says:

    2Fat Zombie: The twist… Heh, don’t worry, he hasn’t mentioned the one last final twist you get on day 12, when you get to visit the Polyhdron for this one last time, and then the Theatre, if you saved enought Adherents. Trust me. That twist is just mind blowing.

    Also, there’s a secret ending, which I’m not sure the author has reached. The one, when you get one extra cutscene in the thetre after the outro.

    Anyhow, I’d like to thank the author for taking his time to write these three articles – really made me feel that Some! Hearts! Are! True!
    Well, or something like that – meaninglessly positive. :)

  12. Amasius says:

    WOW. In an ocean of meaningless hype that is todays gaming journalism a fountain of authentic enthusiasm. I’ve never before heard of Pathologic and the few reviews I’ve read now on various sites butcher it merciless – and if we can believe Quintin Smith totally clueless. It seems to be a flawed gem where much is lost in translation, but damn, after reading the three articles now I feel an overwhelming urge to play this game. I just hope I can find a copy somewhere. Thanks for the great read!

  13. Raff says:

    AAAAANNND it’s re-installed.

  14. hydra9 says:

    *Fantastic* article. Thanks very much, Quintin! And thanks also for NOT giving away the big ol’ twist in the ending.

    If you’re worried you’ve read spoilers – Don’t worry. There’s a whole lot more to uncover.

    @Moorkh: I recommend playing as the Bachelor the first time around. The Haruspicus’ arc has a marginally better translation, but I think the Bachelor’s story is slightly more rounded and satisfying. Also, he has a couple of abilities that make his game a bit easier than the others. As for the Devotress, she is ‘unlocked’ when you complete the game with one of the other two characters. She also apparently has the worst translation of the lot – The LxR has urged me to wait for the patch for that one.

  15. Quinns says:

    Fat Zombie: As LxR has spied, there’s stuff I didn’t discover, more that I discovered and didn’t understand and even more I just haven’t talked about.

    If you’re interested in Pathologic, just get it. There’s no point worrying about whether to take the plunge because there’s a good chance you’ll be uninstalling the game after two hours of play anyway.

  16. Martin says:

    It’s downloading as I type.

  17. SwiftTheRedFox says:

    Quinns, do you think that Pathologic could be modded with updated graphics if there was a strong enough fan base? If so, that could help breathe new life into this game and allow more people to experience what you have.

  18. Meat Circus says:

    Why take two hundred words when you can write THREE BASTARD ARTICLES ALL SAYING THE SAME THING instead?

    We get it. You’re quirky. Happy now?

  19. Jim Rossignol says:

    Meat Circus needs a lie down, I sense.

  20. Doug F says:

    I can empathise with MC to a point. I mean, forcing him to read 3 articles on the same subject so close together was unfair.

  21. grandstone says:

    I want to like this game, but I played the demo and it just seems too exhausting to hack through the bushes of bad translation, slow gameplay, and broken mechanics. I don’t mind the graphics, but I don’t even lose money when I spend it, and the demo just plops you into the thick of things when it probably would have been better to start the player from the beginning.

    Is the full game better than its demo?

  22. Noc says:

    Coincidentally, the Meat Circus was what I thought of after reading the beginning of this article. Theater and Meat, wrapped up in a package that seems to make punishing the player it’s primary goal . . .

    I still need to get around to finishing Psychonauts.

  23. Rook says:

    If you don’t like the demo, there’s no way in hell you’ll stick out the game. It’s tough, brutal, challenging and ugly and moreso you’ll only get out if you put 10x as much in.

  24. Leeks! says:

    I’m normally annoyed when games writers use film analogies, but that Schindler’s List reference just made so much sense it’s like something clunked into place in my brain. I’m sold.

  25. Brokenbroll says:

    I struggled with the demo as well. not so much from the game mechanics or the translation, but from the seemingly being started off at several days into the second characters story, where you already have met and gone through several big events with the bachelor character.

    Or perhaps I’m wrong, and the game really does start out like that.

  26. Meat Circus says:

    It’s true, I do need a lie down. It’s your own fault, you summoned me by saying my name three times.

    I’m now going to ruminate on the astonishing revelation that Catherine Tate can actually act when she puts her mind to it.

  27. Fat Zombie says:

    Quinn, and all others who have mentioned more important twistey-bits; thanks, now I shall go get it.

    And don’t worry about my getting bored of it two hours through; it has cows and flamethrowers, and a very Russian sense of pessimism. I’m gonna play through all of it.

  28. Clicky says:

    I just played it for 2 hours and uninstalled it. A great story, one of the best stories in gaming ever. An excellent storytelling medium, but a horrible game. Most of the impulse buys from these series of articles will play it for just as long as I did. I see the brilliance in the game, but the gameplay itself just doesn’t work for me. But if the game was built on an excellent engine, it wouldn’t work. A big part of the hideous beauty of the game is the fact that the game barely works. Everything is collapsing at the seams, which kind of works, considering the atmosphere of the game itself. If you ported it to, lets say the CryTek engine, it would look much better, but the aura of the game will be basically destroyed. I actually think that this game can’t be rated in any way at all, it just defies every possible rating system. I think you should play it, but it is most likely that you will uninstall it before completing day 2.

  29. fluffy bunny says:

    Thanks for these articles. I’ve now reinstalled the game, and I’m actually enjoying it so far. I don’t understand much of what’s going on, but I’m solving quests, sightseeing and generally having a pretty good time. We’ll see how long it lasts, but I’m glad I gave Pathologic a second chance (thanks to RPS). :)

  30. Dinger says:

    Naahhh, no need to call down Schindler’s List. The same could be said of any Germann New Wave pic. The Goalie’s Anxiety at the Penalty Kick? QED and a better fit.

    Oh, and numerologically speaking, you missed one: it’s meat, theatre and something… I’m guessing sensitive soul….

  31. grandstone says:

    Clicky, I agree about what you think about this game’s defiance of ratings, and I think it comes from having a brilliant design but a lousy execution. Maybe it would have reached a larger audience if it had only been localized better. It probably won tons of awards in Russia because it read better in Russian.

    The sound design needs to be better. A lot of things need to be better, and I won’t be buying this game. But good on the programmers for doing something so ambitious.

  32. Mike says:

    Imagine Pathologic with the budget and publisher patience that STALKER received. Still quirky and Russian, still pretty broken, but workable and visually arresting enough that a greater number of people would persist to its conclusion.

    These are the things I fantasise about when I’m playing these very-nearly-terminally-broken flashes of brilliance.

  33. James says:

    Well, I’m still not reading these yet. I’ve just installed the game and am about to try and get started on it, but I found something that might be some form of light at the end of the tunnel for those wrestling with its translation: link to forum.ice-pick.com

    It appears to be the translation project that people have mentioned/ hoped for. I’m not sure at what speed the project is going at, but at least the chance of a workable fix is there.

    EDIT: After a quick look around, the speed is roughly ‘very, very slow’. Ah well, I hope it still manages to go ahead.

  34. Kast says:

    OK, one way or another, I’m getting this.

    More articles like this, please! For that matter, more games like this, please!

  35. Quinns says:

    Clicky: Pathologic ported to the Crytek engine would be amazing. Every single player would snap by day 3, and start meticulously dismantling the entire town to build a huge bonfire.

    SwiftTheRedFox: You are the sweetest. But I think just about everyone’s number one problem with Pathologic is bound to be how it plays, not how it looks.

  36. Carl Van Ness says:

    Perhaps worth cheating through to minimize the brutal difficulty while still being able to experience the story?

  37. Kieron Gillen says:

    Honestly, the difficulty isn’t the biggest problem. The biggest problem is simply how much walking there is.

    (Were I to mash two of my favourite broken games together, I’d slam Boiling Point into Pathologic. Cars are interesting to drive in a way which walking basically isn’t)


  38. Balor says:

    I don’t think it will work. It’s difficulty and pacing are pretty much integral elements of the game. Removing it will remove one of it’s cornerstones.
    It reminds me of ‘Spirit Meter’ in NWN2:MOTB. It’s integral to the plot, and is a great idea all around, but people hated it… mostly people who wanted some mindless entertainment out of the game, not RPG enthusiasts, though.
    It’s even worse here. The creators of the game even apologized before people who bought it purely for ‘entertainment value’. It has ZERO entertainment value. And it’s intentional.
    Figuratively speaking, current crop of games are mostly like porn. Low-brow entertainment directed at the most basic of instincts, designed to maximize positive response. Dungeon Siege springs to mind at once. Oblivion, too.
    Pathologic is, indeed, like one of those films that can really be called Art. It does not feature impressive special effects, laugh track, screams ‘Oh, my balls!’, etc. You cannot play it ‘with your brains turned off’. You don’t want to play it to relax after a hard day of work.
    Unfortunately, very few people need (and fewer want) games like that. I goes well past merely ‘challenging’ game. Therefore, games like that will NEVER feature AAA budgets, unless sponsored by a millionaire with refined tastes and (uncharacteristic of millionaires) fits of generosity.

  39. Kieron Gillen says:

    I dunno – Boiling Point’s driving isn’t “fun” either – it’s just that games simulate the sensation of walking less effectively than driving, so the latter is more immersive. It’s still going from point A to point B, when Point A and B are a long way away and there’s nowt really between except atmosphere.

    Point being, walking around a town isn’t central to the experience in any way – in fact, it’s actually something that arguably takes you out of it.


  40. lungfish says:

    i think this game might make me take the pc out of the cupboard, i’ve seen it in shops and thought it looked interesting just never got around to buying it, now i’ve got it ordered, thanks RPS.

  41. Balor says:

    “Point being, walking around a town isn’t central to the experience in any way – in fact, it’s actually something that arguably takes you out of it.”
    Yes, it is central. Not just walking, of course, but it’s time that matters. If you could just zip around town, easily do every quest, check all the trash cans, children and shops, taking naps every time you felt tired or hurt – it would be a completely different experience.
    Unlike in (already mentioned) Oblivion, “immersion” is not just a buzzword here, you know. Again, it’s like MOTB. Without spirit meter, the MOTB is like a shooter with god mode on. It’s plot is still there – but it does not make sence anymore.
    If you could sprint around like roadrunner in Pathologic, it would still feature it’s wonderful plot, but it would be felt like farce without the atmosphere of desperate survival… just like the ‘moral dilemma’ in Bioshock. What’s the point of being ‘bad’ when being ‘good’ actually reaps higher rewards? It’s not being bad, it’s being stupid.
    At least, so I’m inclined to think.

  42. Andy says:

    I generally hate RPGs, but I’m gonna play this one.

    Outstanding review articles! This is the best game review I’ve ever read, hands down!

  43. Kieron Gillen says:

    Balor: I also didn’t say it took any less time. Boiling Point takes forever to drive everywhere.


  44. Quinns says:

    Haha. The idea of puttering around Pathologic’s town in a ridiculous Oldsmobile is pretty appealing. You could find driving goggles that unlock new top speeds in increments of 0.5 mph.

  45. Kieron Gillen says:

    That’s the Pathologic way to do things.


  46. Chaz says:

    Got my copy Saturday, so gave it a quick bash yesterday, and so far it feels rather like spending a wet Sunday afternoon with a senile grandparent. And yep the walking is a killer; some one really needs to mod in a run key. In its defence though I will say that they have the walking pace down just right, it does feel very natural.

    As for Boiling Point, I actually enjoyed the driving around in that, until they broke the mouse steering with a patch. Driving around bumpy dirt tracks in the jungle in the last fading light of the day is one of the most atmospheric game experiences I’ve had. I’m looking forward to seeing what White Gold and Precursors will be like.

  47. Riley Dutton says:

    I gotta ask this…

    I’m really, really thinking about playing this game. It sounds great. Not fun, I understand that part. But here’s my only concern: just how bad is this English translation? Quinn, did you play through it in English (…and do you speak Russian?). I mean, if you played through it in English, and you got this much out of it, I’m sure I can use my experience with poorly done fan-subs to stomach through it. :)

  48. Raton-Laveur says:

    Riley : no subs for the some voiceovers is not cool. Mucho text, somehow feels like a mistranslated instruction manual for an universal tv remote.

  49. grandstone says:

    Riley: I was not prepared for how bad the translation was, even after reading in several articles that the translation was really abominable. It’s like aliens tried to translate their language into Finnish, then from that into English.

    But take my opinion with a grain of salt, as I only played the demo and uninstalled it after two hours. The translation was the deal breaker.

  50. dhex says:

    i just gave the demo a whirl.

    man i have no idea what’s going on. i love the emptiness of it, but…what?