I'm a little disappointed that you just have to keep shooting the creature. I wondered if maybe you have to attach a microphone and blow into it and the noise would calm it down, and then the story would continue and get more elaborate. I don't own a microphone so I couldn't try, but I was almost willing to pay for one just to see.
Post by agentkoopa on Sept 20, 2008 23:12:23 GMT -5
Excellent choice of music for this one, Cactus. It perfectly captured the sense of melancholy and nihilism. (or is that just me?) The only thing I would have changed is the maze with destroyable blocks. With the awkward orb controls it's a bit tough to make it through.
This is the most emotionally impacting game of yours I've yet played. By the time I got to the Breakout area, I had almost forgotten about the mysterious nature of the game. I was having guiltless, joyful, fun. But then there was the next room, with the quarantine barrier. And I was returned to my senses with a jolt. The final boss... was indescribable. You put in a large enough.... vocabulary that despite how long it took me to complete the game, I had the feeling that I was slowly and systematically destroying a sentient being. This was another masterstroke, intentional or not. The final boss is so difficult that you have to make a deliberate effort to win the battle. You can't rely on personal excuses of "I'm sorry, but this is a boss battle, so I have to shoot you!" or "This is what the game is making me do!" The game isn't making you do anything. By forcing the player to come up with a strategy to avoid the deadly communications, you've laid the strong feelings of guilt directly at their feet. Not only are you doing what may be a terrible thing (do you know for sure?) but you have to be willing enough to concoct a plan. You have to make a conscious decision to kill the anomaly, despite its pleading. And this makes it the most effective ploy I have ever seen from a game.
In the games of yours I've played, you've shown yourself to be a master of blending story with gameplay. In all your games, the player is made to feel that actions have consequences. Characters make threats that they carry out. What one does, in Psychosomnium, for example, has the illusion of directly changing the plotline, so that the player feels that they're not merely along for the ride, but directly involved. There's no such thing as "story time" and "gameplay time". The roles of hero, of antagonist, are blurred in your games. When I play your games, whether I'll ultimately make it to the end and succeed isn't assured, as it is in many mainstream games. The player isn't in charge. And this immediacy, the sense that plot events are directly affecting you in the game, is nowhere stronger than in the last act of Illegal Communication, where you have quite literally brought story and gameplay together. Brilliantly, what you are doing seems to have real consequence, for example, when the words change as your extermination progresses.