There are several ways you can summarize the plot of the Bloober Team’s Observer. For example, you can say that this is a game about a futuristic cop, played by Rutger Hauer, who chases after a murderous monster in the cyberpunk dystopian setting. This way, Observer reminds us of Split Second—a 1992 sci-fi action flick—not explicitly smart or insightful but nevertheless fun in a guilty-pleasure sense.
But another way to summarize Observer is to see it as a story about the post-plague world, where people live in constant fear of the new outbreak, ready for routine lockdowns. This way, the game paints the picture of a totally atomized society where each individual is tightly confined to the limits of their tiny apartment, which reminds us of something wider and deeper than a ’90s movie. It reminds us of our current reality.
Continue reading “Mass Alienation and Social Atomization in Bloober Team’s Observer”
Initially, I intended to write a short review of Neofeud and explain how it touched me with its admirable intentions despite several evident flaws in its design. Then I’ve played a bit more and figured that there is something more interesting going on under the covers. Finally, the game’s ending left me with a rather unusual feeling that I couldn’t leave unresolved. Here’s the attempt to fit the experience of playing Neofeud in my head.
Continue reading “Neofeud: Pastiche and Critique”
Cryo Interactive was a very prolific developer and publisher. During twelve years of its activity, this French company has managed to release so many games, that there is a separate Wikipedia page, listing the most of them. Although you may find quite a variety of game genres in that list, Cryo is mostly remembered for its adventure games.
This legacy is more of notoriety than fame, though. Back in the early ’00s, the phrase ‘adventure game by Cryo Interactive’ bore an a priori meaning of a shallow, not more than a mediocre Myst-like experience, probably based on some public domain property.
Atlantis trilogy is one of the most successful of Cryo’s adventure series (sold over a million copies worldwide) and an epitome of the company’s remarkably unremarkable style.
Continue reading “Atlantis Trilogy: The Remarkability of Unremarkable”
Technological spike in the mid-’90s kick-started a wave of prophecies predicting a fusion of videogames and cinema. A fresh breath of future was in the air: FMV-games and emergence of realistic graphics fueled futuristic fantasies about highly interactive movies ought to bring eternal joy and happiness to our long-suffering world. Alas, the reality is the most ferocious party pooper: it turned out that it is tough to balance interactivity with cinematography. You have to prioritize. As a result, games with a high focus in cinematography were severely lacking in their interactivity, falling between the chairs of two mediums: failing to compete with movies (because of their still immature cinematography and incomparable budgets) as well as with other games (because of their primitive gameplay).
Cyberia was one of the first games that learned that truth the hard way.