The game allowed for this kind of choice but didn’t provide a separate ending supporting, instead fall back on binaries, which like a great oversight. This became somewhat of an issue for me in my first run, where I opted to take revenge on a few people I considered irredeemably evil, but showed compassion to others I felt were victims of circumstance.
However, the game’s endings appear to undermine that, as there are only two results you can get – good and evil. Moral choices occur and often have long-term consequences, and there’s even a few twists that showed an honest attempt at moral ambiguity and grey areas. The characters have personality and complex motivations (and many actually recur), but I found the game’s attempt at giving you choice fell flat due to a largely all-or-nothing ending. The writing, however, suffers a bit from being a bit too straightforward. There were a few situations in which usable items were obscured by the graphical effects (notably, a mist effect prevented me from seeing a key I needed to progress.) Overall, interact-able items either have gleaming auras over them, or shimmer brightly. With a style like this, it’s easy for levels to become indistinct and murky, key features becoming difficult to find without hunting for the magic pixels you can interact with. Puzzles using the art assets abound, like assembling an angelic statue, bedecked with skeletons, or rearranging a doorway to restore a certain face. It doesn’t quite make sense, of course – giant faces in walls and towering, skeletal beasts rarely do – but that’s part of the fun. The art is gorgeous, surreal, and dark, as was promised. Conveyed to a castle and told you’re to be tortured to purify you of your sins, you’re left in a prison sell with only some skeletons for company, as fire rains down outside. The story begins with our hooded protagonist in a cage, dangling from underneath a dirigible, along with an armoured otter-man, heading towards an organic-looking castle. A crowd-funded property that also follows the adventure games revival, Tormentum is a serviceable property, if somewhat straightforward and with some annoying bugs. It makes sense that someone would make a game like Tormentum, which is touted as evoking the work of the late artist in its dreamlike, unsettling world. Giger and his distinctive, nightmarish style (characterized by the long-headed Aliens and rather phallic and outright pornographic surrealism) slips into a lot of media. Do something iconic and noticeable enough, and it becomes something to be emulated.
0 kommentar(er)
