This is HARD. I tried various combinations of background, clothing, and hair but couldn't advance to the next level. There's a fiendish number of possible combinations, so brute-forcing is NOT an option. I went with gut intuition but my fu is too weak. I suspect I need to meditate for a day to even get in the zone. This feels like I'm playing EarthWorld again. The anticipation is marvelous, but the payoff had better be awesome.
The art is well suited to the game and the tone is amusing without relying on a lot of text. A third-person perspective for this kind of game is very refreshing. I really like the combination of fail-proof railroading (no dead ends) and alternate solutions that reward replay.
I've gotta be honest, half the time I didn't know what I was doing until I located the irreversible portions. I can easily imagine this being a long series of nightmarishly difficult levels. Thanks for not doing that. Even the expert levels were challenging without being frustrating. That's a testament to good craftsmanship.
I was really liking the game until I had to restart three times because I kept getting stuck behind the teleporters early on in the game. I appreciate a challenge but no game should consist of "avoid the glitches that make the game unplayable".
I thought the sarcastic descriptions got boring fast but that was nothing compared to the pompous existentialism of the dark voice. Nice interface, though. I wouldn't mind playing an actual game using it. Just drop the snarky attitude and the free-will babble and do a straight adventure game.
The pattern-matching puzzle has promise if it were ramped up incrementally or had a more dynamic interface to compensate for the lack of instructions. I like that the author swiped the rampant-AI scenario from Marathon and made it more eerie, but I can't read any more ramblings from the shallow, self-important characters. Flat writing tends to telegraph the conclusion and drains the suspense that might otherwise sustain me. As it is, I'm just not motivated enough to slog through the 1980's-era "3-D maze game" interface.
I had to camp in the filthy kitchen to rack up 1,500 BUG BONUS points to make up for the fact I couldn't find that middle diary page. What, is that the one where she offhandedly mentions she's stopped taking her meds? And if I have a crowbar, Freeman's Law says I don't NEED a front door, much less a key.
Clever puzzle mechanism. Why do I get the feeling the same person who came up with the game idea was also allowed to name it? If Sudoku or Tetris had a clunker of a name, they might have never gotten so far. Seriously consider rebranding with a name that is, if not snappy, at least memorable. I wind up calling this "that paint-with-snakes game".
Game slows down badly when there are many sprites onscreen, especially when they're being targeted by your swarm, which makes the final showdown all but impossible. You can only fire your weapons in the moments after your swarm has killed off a swarm of zippers.
The art is terrific, as is the music. Well-realized setting and characters. The flow is uneven, though. The bloody setting outside the warehouse goes without comment, as though it's completely expected. Have all text triple-checked for typos. Nice work keeping it under 10 megs.
Something about these games is even more depressing than Soviet-era architecture. I think I only play them to recapture the magic that was Hypercard. And to make my brain hurt from the strained logic, of course. I think this one is especially ripe for a big-screen adaptation by Uwe Boll.
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