Wot I Think: SOMA

Five years ago, Frictional released Amnesia: The Dark Descent, a horror game that made us afraid of the water. That was five years ago. Now, with SOMA [official site], the studio have switched from gothic castles to science fiction and they’re taking us right to the bottom of the ocean. I’ve faced my fears and here’s wot I think.

Amnesia: The Dark Descent was a ghost train, a haunted house. Dark places, creepy noises, things that hunted in the dark. By the final third, when the plot solidified into a palatable but unexceptional form, I was satisfied with the scares along the way and the thick dread that hung in the shadows of the prison section in particular, but there were no lingering tendrils of terror. My favourite horror games and films are the ones that scatter seeds in my mind, ready to sprout into nightmares while I’m sleeping, or to keep me looking over my shoulder as the lights go out on the world. Sometimes all it takes is a single uncanny image, sometimes it’s a persuasively uncomfortable bit of psychological insight or trickery.

Psychological horror is a broad term, mostly used to denote a game or film that’s more than blood and guts, and one which targets mental and emotional conflict, as well as archetypal doubts and fears, rather than simply threats of death or physical harm. Initially, I thought SOMA would fall into that subgenre but the more I played, the more I realised Frictional’s game is more interested in a form of philosophical horror. Thematically, it addresses questions related to Cartesian duality, consciousness and existence, and at its best it draws connections between those questions and the experience of hiding from scary creatures and fixing computer systems in an underwater facility.

Most of the time I felt a disconnect between what I was doing and the apparent meaning of my actions. At its best, SOMA is an improvement on The Dark Descent in every way, a haunted house par excellence – at its worst, it’s a series of conversations that you might have overheard in a student union bar right after The Matrix came out stitched on top of a game about running away from monsters.

That’s not to say the writing is consistently bad – it’s often great – but the delivery tested my patience. There’s barely a quiet moment that SOMA doesn’t try to fill with reflections on what is happening and when the lead character actually prompts conversations by saying things like, “Doesn’t this whole situation make you think about what it really means to be human?” it’s hard not to feel that those reflections are forced. He’s so desperate to milk the weird horror of his situation for some kind of philosophical insight that it seems like he’s preparing to write a dissertation and desperately wringing every encounter for material rather than trying to survive.

The broad strokes of the plot are magnificent though. There’s far more to discover than even the extensive pre-release marketing campaign has revealed, including several relatively early surprises that would happily serve as the climax in a game that weren’t quite this bold. If it’s fair to criticise the occasionally laboured form in which the story is served up – text and audio logs, repetitive conversations with weirdly enthusiastic and chipper voice acting – it’d be unfair not to mention the handful of extraordinary moments. When SOMA fires on all cylinders, the results are quietly, sinisterly spectacular.

It’s frightening too. The various creatures that you’ll encounter are awful things, their appearance vague and weird enough to alarm, and obscured by a glitching effect that intensifies as they approach. They sound horrible too, either seeming to interfere with the innards of your speakers with electric distortions, or screaming and rattling out what seems to be the last of their humanity. Indeed, the game sounds superb throughout, from those hideous cries of impending death to the creak and clatter of macinery. With the rather glaring exception of the voice acting – which isn’t bad so much as out of kilter with the overall atmosphere of the game – SOMA is an almost perfect example of audio design.

On top of that, it’s one of the most wonderfully tactile games I’ve ever played. Frictional’s games have always been brilliant vessels for environmental interactions. Whether it’s the way in which doors and drawers can be eased open and shut, or the way that objects can be lobbed across a room, bouncing or rolling as they land. Even if they don’t make worlds that I’d necessarily want to touch – on account of the general griminess and gore – Frictional make worlds that I feel a part of. In that regard, SOMA is their greatest achievement.

It’s a love letter to machinery, in a way that reminds me of Alien: Isolation. As you move from one part of the underwater facility to the next, you’ll find yourself doing the usual horror game tasks: fixing things and finding alternate routes through ruined sections of laboratories, power stations and the like. All of that would risk being tedious if the simple act of plugging in a computer or flicking a series of switches into place didn’t feel JUST RIGHT. It always does though, to the extent that I was actually excited when I found a new kind of lock, which needed to be pulled, swivelled, adjusted and repositioned. The satisfaction of those interactions adds to the credibility of the world, as well as creating tension when an enemy is close and you’re fumbling with the clasp on an automatic lock.

Sadly, I didn’t find the setting as a whole quite as compelling as the small details within it. The game is split between interior locations and underwater treks. The former are mostly well-constructed and have a few clever twists on the sci-fi facility blueprint they appear to have been drawn from, but I found the underwater sections something of a slog. There’s an initial sense of shock and awe but the slower pace and the lack of anything particularly interesting to look at soon made me willing to hop, skip and jump from one interior to the next, immersion be damned. It’s also somewhat disappointing that the spread of a machine intelligence is visually and mechanically almost identical to the fleshy growths on the castle walls in Amnesia, and countless other corruptions in horror media.

SOMA is Frictional’s most accomplished game to date and there are at least two areas that already feel like they’re home to classically constructed horror sequences. It does feel a little bit like watching a creepy movie with a friend who won’t shut up about the philosophical ramifications of it all though – I think sometimes telling can work just as well as showing, but in SOMA’s case a little less of the telling would have been welcome. The areas that the game explores made me curious rather than terrified, and I never felt the anxiety or urgency that I associate with my favourite horror games. Well, except when a monster was chasing me but that had less to do with what that monster was and what being caught might mean, and everything to do with those excellent sound effects and some twisted, twisting level design.

While it is an enormously satisfying and well-crafted game, SOMA never managed to convince me that its themes and plot were in tune with its more traditional first-person frights. It scared me and it gave me cause to think about some of the issues raised, but now that I’m done, I doubt it’ll stay long in my mind, or plucking at my nerves.

SOMA will release September 22nd on Steam, GOG and Humble.

80 Comments

  1. FreeTom says:

    Well, bad news for horror fans but it might mean that those of us who don’t floss our teeth with human tendons could actually get through it.

    I played Amnesia:TDD for about half an hour before uninstalling it and being afraid of my own bathroom for the rest of the night.

    • FurryLippedSquid says:

      You and me, both.

      “those of us who don’t floss our teeth with human tendons”

      Quote of the year.

    • Elliot Lannigan says:

      Me too, except it was more like an hour because I was so anxious, dumb, and possessing-of-poor-display-contrast that I couldn’t even figure out the first, basic puzzle for half of that time…

    • grrrz says:

      this is not amnesia terrifying but worry not, there is still a fair level of pants shitting involved.

  2. NephilimNexus says:

    So if we were to put SOMA on a balance scale with “Alien:Isolation,” which would be heavier?

  3. rustybroomhandle says:

    I think I knew the forced attempts at philosophical meaning from fairly pedestrian concepts like the whole done-to-death Ship of Theseus thing would grate somewhat when I saw the developer tweeting about those things.

    That said I’ll probably still grab this for the no doubt great environments.

    Amnesia was interesting wrt its horror aspect. The jump scares got me at first, but when I realised there’s no real monster AI and all the events are scripted, along with the good save system, I completely stopped worrying about the monster. I’d just go about my business, figuring out puzzles. If the monster showed up and killed me I’d just shrug and avoid him the next time. Hoping SOMA is a bit better in this regard.

    • gunny1993 says:

      You’d think that philosophy would go really well into a horror game, especially one like amnesia, since good philosophy in games/books/movies is always a subtle undertone beneath the visual shell of the story and once the philosophy or philosophical concept comes into the light in an obvious fashion it can simply seem hamfisted; as when the monster in a horror is revealed a lot of the fear evaporates.

  4. CookPassBabtridge says:

    Good lord. Its actually coming out? TOMORROW? Why didn’t I know about this? Gosh. I have nothing to wear. I need to buy a hat.

    • Ross Angus says:

      And for heaven’s sake, brush your hair.

      • CookPassBabtridge says:

        *grabs hanky, licks it, dabs at something on your cheek*
        ….Don’t pull that face

    • grrrz says:

      I would recommmand a bucket. it’s disgusting to do this in a hat.

  5. Alien says:

    Ok, what place will SOMA take on your “Best Horror Games”[1]list?

    [1] link to rockpapershotgun.com

  6. aircool says:

    Huh… I still don’t know whether I want to buy the game or not.

    • Beefenstein says:

      And even if you did know you wouldn’t know if you liked it until you’d played enough of it. And maybe you’ll never play enough of it to know.

      And yet… that’s not really a problem, because in the biggest scheme of things you don’t even know why you’re alive (and, I suspect, can’t ever).

  7. Rumpelstilskin says:

    What about the gameplay though? Is it interesting/compelling, or not so much?

    • Jalan says:

      Fetch quests. This is really nothing new for Frictional or even this type of game but for some reason their inclusion in SOMA just feels off. Like they couldn’t find justification to have the player explore the environments on their own in order to gradually allow bits of story to unfold before them while they did so.

      As often hated on as it is, the “walking simulator” style would have worked so well in SOMA. Not even having it be full-on but leaving those moments away from the cramped corridors to just wander a bit and soak in the atmosphere and environments would have made this (arguably) Frictional’s best game.

    • grrrz says:

      If you’ve ever play any frictional game you’ll be right at home. a lot of sneaking and running away from different monsters (with different “style”), or/and puzzle solving involving the environment, a lot of computer interfaces, and a very simplified inventory (you pick something, it will automatically be used at the place it’s supposed to when you press use). on the whole very satisfying, a lot more than a machine for pigs in this department. storywise it still has a very lovecraftian feel to it and has also lot in common with both amnesia and penumbra.

      • Rumpelstilskin says:

        I played all of them actually (I think?), and it seems they were more puzzley at first (especially Requiem), which I liked, but based on what I’m hearing about SOMA the puzzles are not terribly exciting this time around.

        • grrrz says:

          yeah, sure, it was more “puzzley” in the penumbra series, but here it’s a bit like in amnesia, you don’t come for the hardcore puzzlin’, but it flows pretty naturally in the game while not being totally obvious.

  8. Zenicetus says:

    What kind of save system does it use? Checkpoints? Save on demand? If it’s checkpoints, how far apart are they? And so on.

  9. Robert Post's Child says:

    “First time I got chased by a monster, I was like ‘oh no!’ but then I was like, ‘this is a story.'”

    • draglikepull says:

      It’s certainly true that if you can’t or won’t suspend disbelief you will get less out of most works of fiction than other people do.

      • Unclepauly says:

        Probably why it’s not good for kids to watch horror movies as the younger they are the more real it is to them.

      • Robert Post's Child says:

        I mean, you’re not wrong… but it was more of dumb joke on my part regarding the ‘main character is writing a dissertation’ comment by paraphrasing a quote from Community.

        Which I’ve now had to explain and thus the entire operation is declared a glorious failure. Time to drink!

  10. ToomuchFluffy says:

    Well, I will know soon enough if I agree with Mr.Smith’s sentiment. Either going to start tomorrow or Friday. My working hours are a bit problematic and I really want total darkness for SOMA. ;-)

    But, to be honest, I’m not surprised about how the story turned out. The way they were talking about psychological horror and the bits I have heard from Simon (if I’m not mistaken on the name) sounded a bit to direct. And I had no real hope that they would be able to get anywhere close to the story-quality of “A Machine for Pigs” or “Cryostasis” (which may have inspired them).

    • thebigJ_A says:

      Cryostasis had a story?

      Well, other than “Ship disaster flashbacks then fight the stupid giant time-god because video games”?

      • ToomuchFluffy says:

        The Chronos-thing is debatable, but if you have to ask if Cryostasis had a story, then you cannot have paid a lot of attention. It’s one of a very low number of games I know where the story was actually good. And not just in a “voice-acting good”, “writing not terrible” manner. A good part of the story was in the environments and the enemies. One of the reasons why I like the story so much is, that it is multi-layered: On the one hand you have the story of “The Flaming heart of Danko” running alongside the flashbacks and the Captain’s story and as a third element you have the environements and the enemies. Sure, the boss at the end was a bit over the top, but that’s not even a percent of the game.

        • thebigJ_A says:

          That it put in a cool folk tail does not mean it had a cool story. If I put in a clip of citizen kane into pac-man, pac-man does not become a narrative masterpiece.

          Thew story proper was nonsense. (And if it seems otherwise, know that I very much enjoyed the game)

          • thebigJ_A says:

            GIVE ME BACK MY EDIT BUTTON

            stupid auto-correct misspellings

          • ToomuchFluffy says:

            Nonsense how? I mean sure, there were some things in there which didn’t make sense, but for the most part it seemed relatively clear what the story was about. It’s basically about how people behave, how they let themselves be controlled by their fears and so on.

            Pac-Man and Citizen Kane?!? Why such a silly combination? The story of Danko and his people worked well in parallel with the story of the Northwind and her capatain, so your comparison is inappropriate.

  11. Theoricus says:

    So what I’m getting from your review is that the dialog in the game is trite and tedious? With uncompelling scenery and gameplay that shines only through its tactile mechanics; albeit with the occasional bright spot far and few between.

    But the ultimate gist is that it’s an uninspiring game which you’ll forget about in short order.

    Ugh, that’s disappointing, guess I won’t be buying this then. Not that I had high hopes after the travesty of ‘A Machine for Pigs’.

    • Shazbut says:

      That’s unfair as they didn’t make A Machine for Pigs.

    • thebigJ_A says:

      They didn’t make Machine for Pigs.

      Also, you might want to read that again, as your comprehension was way off. The last sentence refers back to the beginning, specifically. He clearly says it’s very good, just some bits about the philosophy don’t work so well and it’s not going to haunt him for nights on end.

    • Jalan says:

      After how good the dialogue was in A Machine for Pigs, I had a hard time coping with the difference.

      • Jalan says:

        To add, the quality of acting in SOMA also felt like a step down. Not a distracting step down though.

  12. gschmidl says:

    I doubt you could break the immersion underwater, actually.

    • draglikepull says:

      What if you ran in circles underwater to try to become an immersion circulator?

  13. xalcupa says:

    Loved the feel and setting in both Amnesia and Machine for Pigs, however the writing and story telling was underwhelming in both! In my view this is where the developers really need to improve.

    So was the story any good or just pseudo-philosophy without the red wine?

    • ToomuchFluffy says:

      Define “good” story. Personally I thought that TDD’s story was actually well done considering the small budget and the unoriginal premise. AMFP on the other was great in my opinion. However, it relies on metaphors very, very heavily, so if you don’t like that kind of approach or can’t be bothered to think about the information you get, then I guess it’s not “good” by your definition. But that’s just a question of taste.

  14. JJRPIII says:

    Am I the only person who didn’t find Dark Descent remotely scary?

    I got plenty of scares out of the Cradle, had some spooky jumps in the Bloodlines Hotel, but dark Descent just did nothing at all.

    I was really looking forward to playing and tried my best to give it a chance : empty house, lights off, headphones on.

    Zero scares, got totally bored and abandoned the game before I even got halfway. Gutted.

    • ResonanceCascade says:

      I found it scarier than either of those two levels (which are also scary). I don’t think I’ve ever played a more stressful, terrifying game than Amnesia. Usually I can get into a groove and enjoy the haunted-houseness of horror games (like Outlast, which I loved, but failed to scare me after a short while) but Amnesia was just pure, gripping immersion and horror for me.

      • JJRPIII says:

        Yeah that’s the impression I get from most people.

        The Cradle got me with the imagery and sense of place, and I genuinely felt uncomfortable at some points. Ocean House I kind of bought into the backstory, and it felt creepy and I got a few good jumps, though without it being the same sort of level of actual scariness.

        I just don’t know what I missed in dark Descent. I guess I just couldn’t suspend my disbelief for some reason.

        • JJRPIII says:

          Actually, maybe one thing I can think of is that I really liked both Thief 3 and Bloodlines, so I’d already bought into the setting and my character before those levels happened.

    • Premium User Badge

      Andy_Panthro says:

      I also didn’t appreciate Amnesia: TDD. I wandered about for about half an hour, not finding very much to do. I eventually found a puzzle that required me to mix things together for some reason. I didn’t feel engaged with it at all, and never went back to it.

    • Premium User Badge

      basilisk says:

      No, you’re not alone. But there aren’t many of us, I suppose. The game never clicked for me, at all. It absolutely relies on having a very thick curtain separating what is being presented and the quite primitive mechanical apparatus that’s running it behind the scenes, yet for some reason the curtain just wasn’t there when I played it.

      The result was not even remotely scary, just a bit boring and very repetitive. Roughly the last third of the game is pretty bad either way and the finale is (I have to assume) unintentionally hilarious in its silliness.

    • dethtoll says:

      You’re not alone. I just found it infuriating.

    • ToomuchFluffy says:

      I never understood how anybody could consider the Hotel from Bloodlines to be scary. It seemed like a haunted house-ride to me. Admittedely with a few well-done parts, but still not something I could take very seriously. VTMB is a very atmospheric game, but not first and foremost in the Horror-sense.

      • JJRPIII says:

        Well I agree that Ocean House isn’t really genuinely scary, and that “haunted house” is a fair description of the mechanics, but I still got a satisfyingly spooky vibe from it and a few jumps.

        ADD did absolutely zip all for me though, so even then it’s quite a big contrast.

  15. zeep says:

    I want a horror game like this with more depth, like Thief 2.
    I think that would be the ultimate game.
    I also think there’s a hole in Antarctica.

    • Unclepauly says:

      Who told you about the hole? Jesus you can’t keep a secret around here.

  16. cbn says:

    The physicality of Amnesia was so good, so I’m glad to hear there’s even more of that :]

  17. ronerberg says:

    Yeah unfortunately from the most recent “environments” trailer, I was already cringing a bit at the voiceover…I’ll still give it a shot of course, cause I love Frictional’s work.

  18. EhexT says:

    So, is it as connected to the overarching plot of the Frictional Universe as the trailers made it seem?

    • Jason Moyer says:

      Isn’t the overarching plot of the Frictional universe so far just “guy has a scary experience in the Cthulhu Mythos”?

      • EhexT says:

        No, the overarching plot is about other-dimensional aliens being forced or lured into our reality that they then want to escape. One of the clearest connections is the high tech thought-recorders that appear in both Penumbra and Amnesia (and I think the save-points of Amnesia are also alien artifacts from Penumbra).

    • Jalan says:

      It doesn’t really feel connected at all. Overall, without saying much (assuming you’d rather not have the entire plot spelled out for you, at least), don’t immediately jump to the presence of aliens.

      • Jalan says:

        (Also, to add re: not really feeling connected) I get the feeling that it’s better off not being as such. Then again, maybe I missed a critical piece of info that does connect it but when I played through initially I didn’t find anything that really put it in line with what had come before.

  19. felisc says:

    I really want to experience the audio visual beauty of the game, but am as brave as a dead dog on a pogo stick when it comes to horror games. Can one of us fragile unicorns go and recon the game for two hours, then tell us if it can be stamped “suitable for little quivering princesses” ? Please ?

  20. freedomispopular says:

    This looks like it’s going to be SOMAch fun!

  21. gunny1993 says:

    Stuff like this convinces me that horror is the hardest genre, pace it too fast and you lose a lot of tension and atmosphere, pace it too slow and people find their fear replaced with boredom and tiredness, the fact that it’s a game always work against is it, as games follow rules and rules become predictable.

    To top it off horror is about taking away player agency (or agency in general) whereas videos games are about giving players agency (this is why imo there has never been a good horror Tabletop RPG) leaving a rather difficult set of problems to solve.

    I’ll probably still pick this up at some point, even if the writing isn’t amazing … lets be honest, no one is expecting some Asimov or Keys from a horror game.

    • The Godzilla Hunter says:

      At least for me, games giving agency makes them that much worse. While I can handle a little horror in other media, the fact that in a game I have to actually push my character into terrible situations means that my tolerance for horror in video games is pretty much nil.

      (This is partially one of the reasons I also consider Call of Cthulhu to be a good horror tabletop RPG – the sanity mechanic adds to the dread of not wanting to continue. Different strokes for different folks, of course.)

    • Uncaring Cosmos says:

      I don’t think horror is about taking away player agency. I think good horror is about making players feel vulnerable. They’re very different things! And it’s true that video games are often about empowering players, but that also isn’t the same thing as giving them agency.

      Also, Call of Cthulhu is a bloody fantastic horror tabletop roleplaying game. If there’s a good keeper, then it can easily be as horrific and terrifying as a good horror book or film.

  22. thebigJ_A says:

    Cannot wait.

    Just the chance to manipulate the environment in that unique and tactile way Frictional has in their games is a treat.

  23. JaguarWong says:

    They’re like buses these games that ask you to question what it means to be human… Choice Provisions’ ‘Laserlife’ is out on the same day.

    Pretty safe bet which will be the commercial success and which will be the philosophical one.

    • GHudston says:

      I might have to play Laserlife to erase any fears that SOMA will be too pretentious. A game that promises that players can “harmonize an Astronaut’s memories within the Astronaut’s metaphysical plane” and whose trailer features clips of an uninspired rhythm game peppered with Jaden Smith tier philosophical questions should take the edge off and let me enjoy SOMA’s horror.

      • JaguarWong says:

        Glad to hear it. Beware though, if dev’s previous output is anything to go by it’s likely to feature a fair amount of ‘gameplay’.

  24. bill says:

    Just over half way through Amnesia right now and it is really rather good.

    People always talk about the running away from the monsters, but for me the star of the show is the dynamic lighting engine. The way it handles relative light/darkness, night vision and how your eyes adjust to the different levels of light.

    Lighting candles illuminates the area and allows you to see more, and reduces your fear, but it also stops you seeing much outside the illuminated area. Stepping into the darkness leaves you temporarily blinded but then your eyes adjust… but you can’t see very far and I find myself walking along hugging the wall.. as I might do in real life.

    It’s more of a games about managing light resources than anything else. It’s also the crushing darkness that creates most of the atmosphere and fear… the first couple of hours are pretty light… then you reach the Storage level and the darkness is horribly oppressive. I wasn’t “scared” but I was oppressed and I needed to take a break after playing that level just to unwind.

    The second star of the show is the tactile physics and the logical real world puzzles.

  25. rickenbacker says:

    Thanks for the review. Since I absolutely adored the “80’s-futuristic” design of Alien (and the 50% fantastic Isolation) I’ll have to play this.

  26. v1tr1ol says:

    Just finished the game, beside not comparing xenomorph to monsters from Soma, this is much better experience, very well written story with a great flow to it. For a long time I haven’t experienced this scale of immersion and atmosphere. Voice acting isn’t bad at all, it feels spontaneous and natural as it should be.

  27. Monggerel says:

    Oh good, someone with half a BA in Philosophy (so basically a couple Wikipedia articles, the full thing requires you read at least like a dozen) was allowed to write something. Typical.
    Also sounds like A Sex Machine for Pig Butts, which was the epitome of sophomoric. It’s the shit I would have written like, right now. I’m a self-absorbed cunt and even I know this shit is pitiful.
    At least the first Amnesia was just flat-out stupid and so I could appreciate it on its own terms (eg. “does this slack-jawed yokel fuck make me do a sommersault when they jump out of a closet”)

    Just make games, people. Your stories are all awful fluff on top of toys. You know what’s a good videogame story?

    Well, I think none of them are.

  28. sunburned says:

    Seriously? This is funny. I only so the name, logo and a bit of hype. I actually started to think it might be an interesting game. I didn’t realize that it was some attempt at hipster philosophy: ‘harmonize an Astronaut’s memories within the Astronaut’s metaphysical plane.’ I am sure there are at least two 20 year old bearded blokes sitting in a coffee shop somewhere discussing ‘how deep’ this game is right now. :)

  29. Billy says:

    I liked the game a lot, but I do feel ill-at-ease about the fact that the story is kind of a direct rip off of Greg Egan’s Permutation City. I red that the devs name him as one of their inspirations, but I think that, for anyone who has red Permutation City, it feels much more than that…
    I thinks it’s great that those great scifi ideas might reach a larger public than the hard scifi fanbase, but in the meantime… Why not just hire Greg Egan ?

  30. Simon_Scott says:

    Just a small point but it struck me nonetheless. This is the first game I can think of where the audio-logs and notes actually made sense. It was logical that the network would keep logs of communications made through it. The b___ b__ data mining was logical too. I never found myself listening to any of it wondering why someone had stopped off to make a recording rather than trying to get the hell out. No “Castle of Aaargh”.

    Overall I’ve really enjoyed it, by the way. I feel often the graphics underdelivered, and agree that sometimes the voice-acting didn’t marry up with the atmosphere of the story or setting, but I didn’t mind the open philosophising so much. Maybe it just made me feel clever about myself between trying to get the hell out.

    • Simon_Scott says:

      Oh, and as for the philosophical scenarios being same ol’ same ol’, I felt that it’s one thing to talk about or think through the kinds of Neo-Lockean propositions that Soma examines, and another to invest in a character, and actually work through those scenarios in an immersive environment. I agonised over one moral choice in particular, and responded against type, a decision I will return to in my head many times in the weeks to come, I suspect.

  31. mcbob13 says:

    After playing through this game twice, thinking I might have missed something I came to realize that this game is boring. Nothing happens. The so called monsters are uninteresting, that guy with the meat sack on his head looks like an extra from Silent Hill 2. Disco ball nude guy…. coke is a helluva drug. I got the story, the ending was predictable, if you didn’t see that one coming you should go back to your COD games. The art was very nice, sound too.
    The so called moral choices, what choice? Frictional didn’t offer any other paths to make that moral choice mean something so you pull the plug and move on as the designer intended. This run and hide gameplay is boring, wait for the AI to do its thing, then move to the next conveniently placed hiding spot, rinse and repeat ad nauseum.
    Because Amnesia was a great game, not every game needs to be like that one, this one was scared by the numbers, predictable and boring.

  32. Dick Bone says:

    I played maybe good 2h and the game is solid. The plot and progression are top notch, there is something very unusual going on with the ingredients. The atmosphère is superb, you are always oscillating between fear, uncomfort and awe, this world feels alive. Really involving. Love it. But also scary… At first, you are on your own and completly lost ; making just a footstep can be intimidating. Thanks to the incredible team who pull that out. Great game so far.