Some of the most remarkable trends that arose many years ago sometimes turn into some terrifying, cruel parodies of themselves. Demo version from the sample of the first pairs of levels/hours of the game was the opportunity to look for bugs in games for your own money without guarantee that the game will reach the release. The exit of the sequels from something expected became something sad, because they come out too often, up to the appearance of the “conveyor” label on the series even before someone says “tired”. Sinematographic shooters became a cinema for Pivas with squid. Restarts from the opportunity to breathe life into something flashed became a restart Devil May Cry. Finally, “we will do as before”, which has become so popular at dawn Kickstarter’A, instead of a reason, it became an occasion to doubt: and if suddenly it comes out Pillars of Eternity, A Torment: Tides of Nu?

I, as a permanent player in shooters, have recently been clinging to the moment with “as before”: people suggested starting to the development of games that capture the spirit of the old school shooters: you are high -speed dynamics Doom, And wonderful, cheerful meat Wolfenstein3d, And even a brilliant plot Blood With ideological Shadow Warrior – Just throwing it! Only a few can capture the spirit of these games (and even more so to transmit it in their projects), because all this simply was not in those games. There were no completely crazy and meaningless labyrinths who climbed into (I liked) Project Warlock, There was no gutrifting ten minutes aka Strife, And the habits to make frankly weak, boring and unprofitable shooters of the level Apocryph There was no either.

This is all little connected with DUSK, After all, this is really on-97-percent-positive-reviews-in-Steam-The expected good game with places of unexpected implementation of the very spirit “like in the nineties”. This is a suitable game, play it.

Old and kind

At all, DUSK Initially, already from his page in a steam store, screaming about “Retro, inspired by the shooting legends of the nineties”. Dum-Cheritic-Blood and other games in the list of the same inspirers, crossbows and double-barreled men, Andrew Hullshult (Andrew Hulshult) Music and simply brilliant in its impudence the first trailer for the game (Rampage PAST THE Rednecs! Be Branded a Heretic! Quake In Fear! Meet your Doom! While the uniform is happening on the screen Blood, But in 3D!) with the old count and from the producer of the remake, sorry G*Sport, Rise of the Triad – it was not necessary to go so. The first episode came out, and it was wonderful: the game is played, the players rejoice, the developers answer posts in discussions in the first five minutes – whether it could be better? Maybe: the news about the transfer of the second episode was accepted positively, because the players praised the left -handed so much that the studios New Blood Interactive It came to mind the most important idea: to spend more time to make even more cool levels in the second and third episodes. Cool.

The game holds the dynamics, holds the bar and holds the pop player firmly chained to the monitor. Very pleasant, juicy shooting, excellent sound accompaniment, both musical and in terms of sound effects, the cool levels of different sizes with entertaining hymims without useless running around and labyrinths for the sake of labyrinths – and a very well -aged style, which at the same time is inspired by a variety of sources, from S.T.A.L.K.E.R.A before the situation in the rural areas of Pennsylvania, where I once lived David Shimanski (David Szymanski), game developer. And even the old graphone does not bloom, although the graphics are much worse than in Crysis (the minimum system requirements of which are noticeably lower than that DUSK, O-la-la!), but the game does not sag, although it is made on the notorious Unity Engine. The visual and technical part of the game is generally a very special marvelous.

“For some reason I like to make shitty wallpapers for my games. Here are some of those that I did for DUSK."

One and a half landfill!

"
The hardest thing was to force Unity to stop using the possibilities because of which the game looked better."

The game looks old. Very old. She has a pair of modern buns, like soft light, but she still looks old. Low resolution of textures, very simple models and animations, angular environment – in a word, some surfaces in the game can cut paper, they are so unnecessary. The graphics are really outdated.

But this, of course, was done intentionally: it looks as before, to do it cheaper, and all problems can be solved by style and design. The game, as mentioned above, is made on Unity, but it does not suffer from the problem of 95% of the games on this engine: it looks good, does not lose shifts, in large spaces with no less larger crowds of enemies and their shells will not be choked, and the number of possible visual settings can envy other high -budget ports with consoles. Soft light and Bloom? – Easy! Make a pixel picture? – Please! You can even configure the ratio of colors, saturation and brightness, and with proper perseverance and a feeling of beautiful, you can turn the game into some nuar action movie, narcotic trip or cover of the game Mafia. There are even color options made by developers, from the standard for the game to a certain jensen (Deus Ex!) or dusktrayer (which prevented me from joining about turning the game into Betrayer, After all, this is literally the whole punchline). You can configure and more important things such as an area of ​​vision up to 150 and weapons swinging already. In a word, in terms of technical, the game has everything very good.

The most tsimes is visual. The picture with its poverty is very, very pleasant. The effects are bright and powerful, and a lot of judges in the shooting process bring a lot. Each shot is visible, and each blow or hit is allowed to let blood or low -polygonal scraps, and explosives gives a flash and such a simple, but such pleasant explosive wave. Well, there is still fire there, all the glow, tyry-flood, cool, in short. But this is a lyrics, because we have a bad graphon here, but how to make a bad graphon good?

Design. The design can even save a pixel game from the stigma "worse than doom ". For comparison: there is Celeste, And there isTerraria. They are pixel, but Terraria It looks good. Design and makes budgets and technical limitation DUSK not a disadvantage, but a feature. The creator managed to create a memorable appearance for the environment, and even on the most confusing locations it is difficult to get lost, because you easily remember them at the expense of the surroundings and all sorts of details like inscriptions on the walls. Classic landscapes of the American outback under the lighting of ala Call of Cthulhu, rusty walls of factories from somewhere Silent Hill Or the second chapter Painkiller, Dark dungeons and sterile, but very gray laboratories, interspersed with very dirty, almost otherworldly locations-the game resembles some moments Event Horizon: in the dark above the abyss. Some levels of the second half of the game generally consist of torn and mixed parts of past levels, and this adds a certain charm.

The levels in the game are diverse, because there was a place for both very close corridors and really large rooms and even open -air levels, and the distance from you to the other end of the location is felt, as well as the height. Scale-s. The most important thing is the style. Everything described above sets its special tone and creates a special style, and in itself the graphonium becomes all the same, because the game looks so suitable and peculiar, although it positions itself as secondaryness from many other old games.

This very peculiar secondaryness, oddly enough, gives developers freedom in searching for inspiration. Our Anglo -speaking brothers would designate the appearance as Heavily Inspired, literally “hardly inspired”. This is evident in the locations that I noticed above, and this is also seen in the design of enemies. Cultists with chainsaws and bags on their heads clearly came from Resident Evil 4, Cyborg-woman with a rocket launched from Quake 2, And the arrows in gas masks with their colors resemble Hecu from Half-Life. Enemies are generally well remembered: some – for the soreness of the battles with them, others – for the torment of escapes from them, others – for the appearance. And you also remember The dog is a don: This is literally a dog without legs in a cube on wheels. She does not bite, she ram. Hurt.

This is a Taran dog. CART DOG. HOUND OF TORMENT. She can play in a multiplayer.

If the word was given to my comrade alone, he would call the artistic style of the game functional: it is simple, but it works, and simplicity gives more time, which can be devoted to other elements that are much more important for the game of this format, creating a certain quality bar to which you should strive for, but at which you can stop at which you can stop. If in the confrontation of technology and the impression of the picture you are more important for you, you will most likely like the game if you do not have a good game without good graphics, you think you can go by. I liked the local visual. This is not a bob Ross from the old shooters, of course, but it makes an impression, and sometimes the game gives a really shocked picture.

This is not Mick Gordon

Sound accompaniment also adheres to rather conservative views: it goes hard and a lot. Sounds are damn important for such a game. On the one hand, they improve the response: the louder, the juicier the sound of the weapon, the sound of the destruction of the environment and the adversaries, the more high from the direct extermination of everything that moves. On the other hand, NPC sounds not only make the same shooting cooler due to pain, but also deepen the sense of battle: each sound telegraphes the enemy’s attack (any side). Finally, the sounds of everything – both NPC and the environment – work on the setting of moments, whether it is the first show of the strip enemy, the exit of the game for rare, short -lived, but very powerful horror rails or the player’s dipping, lingering uterine sounds of giant vundervafli. Each time you are allowed into a closed narrow location, optionally without light, be prepared for the fact that the usual embosses of the game will become much more terrible, and the sounds of local vendigo will be heard even through the walls. A very good effect, it should be noted, because this is a dumb spinal shooter, and not some kind of horror, and it turns out to be scared more abruptly than the officially declared horror films. Deserves respect.

Sometimes the game throws some pieces of the future. For example, the corpse of the enemy, which we will not see a few more levels (or even the episode!).

And the main character makes the classic “Hyk” when he jumps.

But sounds sounds, and the true delight for the audio channel here is music. This is metal. A lot of metal. There is also a the aforementioned embosses, but it is not needed, because there is metal, and not only in the sense of “heavy satanic music”, but also in the sense of “sounds of the plant under distortion”. The composer that worked on the local soundtrack is already mentioned above Andrew Hulshult, who recorded the IDKFA cover album for Brutal doom, OST for recent Amid Evil, Quake Champions And very controversial Bombshell, plus some more kosher things. What is characteristic, no matter how targeted projects, this guy always sounds wonderful and does not roll into monotony at the same time. His music does not emphasize the atmosphere or dynamics of the game, it makes them, and while the slower tracks are kept in tension, combat music makes the blood boil and puts the spinal cord on the wall.

In short, he is cool, and he made music for DUSK. For all three episodes. The compositions were composed in parallel with composing levels and chapters, which took quite a lot of time, but the bar did not fall during this time, and the final result is not only pleasant to listen to the game, but also not ashamed to throw it into a playlist.

Even simple geometry can give a mental, pleasant picture.

Three chapters that differ in visual style are very different in terms of music: the chapter about the shooting of Solyukov gives us a fairly slow industrial sound, diluted by a couple of pieces of trash-metal, the game is gaining momentum and the music becomes much faster and powerful, and the repertoire is replenished by an electronic, the third chapter goes to some very … interesting levels, the music in which the music is, the music in which the music is in which the music is. Leaves closer to the same industrial embosses. The Saudtrek is good: it sounds organic and hard, and very quickly eats into the brain. Sometimes, however, there is a feeling that there is little music: here and there there are some uncomfortable pauses that would be nice to fill with something, but this happens quite rarely, and in general every significant moment is well remembered not only for action, but also for music. The first chapter came to me much less than the other two, not least due to slower music, but after villages and corn fields, the game is filled with vertical and speed, and the music becomes only cooler. Together with the unique visual contents for all three chapters, the music creates a really powerful atmosphere and no less vivid impressions of any battles, whether it is shooting frail cultists or running away from some terrible white rubbish. I can only add that there is no problem with the restart of the track at each load and there is no absolute silence at the end of the track. I hate Quad Machine for this beautiful feature Quake 2.

The plot is against the style

-Soap. -Sorry? -I produce and sell soap. It is vanshit.

Probably, before talking about how to shoot, you need to talk about why. What drives the main character? Why is he collecting shins? Why do they protect him? What the hell he generally climbed into everything that happens? And most importantly: why is it all the player?

All doubts should be discarded immediately: this game, although it has some kind of rabbits of the plot, it dancing does not reveal it, which is not particularly necessary, because this is a noise as before. There is some tie, some kind of climax and something like a denouement, and all this is only reasons to throw poisoning with lead in their path. If we contact the classics about the plot in shooters, the plot specifically this game may well take a place on the same shelf with Doom: The plot is implied, but it is not needed, just like in porn films. The only difference is that here we have a hard snuff with almost comic dogs. Almost.

This is literally the beginning of the level. Promising.

Speaking more specifically, the plot here is served by a few very simple, if not banal, ways. The whole game with us will communicate with a certain voice straight of the cheap horror, throwing up the humiliation and jokes about the “unworthy of” the main character and the meaninglessness of his struggle. Obviously, this is the main bastard that we will need to kill at the end (the move is much more elegant than the demonstration of the main villain at the beginning of the best role-playing game of 2011, haha). Another moment is the sequence of levels and the bacchanalia that is happening on it: the inscriptions on the walls, the slides of the corpses left by someone, the more strange opponents, more and more surreal landscapes give us some idea of ​​what is happening in the playing world, and the lonely sign on the exit from rural motifs, as it were, hints to us: DUSK is a city, and the population is all over the population in it. descends for one reason or another.

Graduation photo by David Oshri, founder of New Blood Interactive and, part -time, the leader of the cult. Behind the voice acting of Hullshult!.

In essence, all events are building a conditional plot: here you have a local war with a blockade, and experiments, and breakthroughs into the abyss, and gaps in space, provoked by the main character, and even a huge death machine, the existence of which still hints to us where the population of the town (nobody except hostile cultists, mutants and demons, so that we have a mystery, so that we have a mystery. There will not be necessary to solve people about the loss of people for a long time). Finally, the levels of the world give us any kind of idea of ​​the world: Erebus Reactor makes it clear to us that the town is not so small, New Babel lets us far beyond the clouds, which indicates, if not the development of construction, then at least the help of otherworldly forces, and the presence of military bunkers and laboratories emphasizes: too much strange garbage to one city. We are told everything through the environment and some events, through hints and semi-people, and I am not me, if I do not say that these are his mother Dark Souls from the world of old-school shooters!

One of the best, in https://nongamstopsites.uk/review/madcasino/ my opinion, Avenue in the game.

The comic book is much more straight. A very simple but interesting story is connected with it: when the game only rolled out in the form of the first episode, a young man named Jacob McMans (Jakob McManamy) posted in his social network two pages from the comic book painted by him. The developers liked this business so much that these two pages were followed by a free retelling of the events of the game until the end of the second chapter. Not everything corresponds to the game, of course, but the drawing in the comic book is very entertaining, if not unhealthy, but it is interesting to read.

In any case, the main character deserves more attention, the benefit for characterizing it was much more than for the story in the game. Our protagonist is officially called Dusk Dude by analogy with the main characters Doom And Quake. This is a baalshi such an uncle in a huge cloak under an equally impressive beard, with a cowboy hat on the head and a bunch of guns under the floors – Dis Bad Boy Can Fit a Lot of Guns. IN DUSK He came because he is a traveler and hunter for the treasures part -time, that is, Digger, if we talk easier.

GG has no voice (in addition to the sound of jumps). This is strange, because the game was clearly inspired by the first game in the series Blood, And the series Blood known for its decadent humor with jokes about guts and synatra. In the case of DUSK, The main character is limited to not voiced jokes displayed on the screen in the form of a text, and does not do without one almost obscene joke in the best traditions of one blond-shaft of the same nineties of release. I do not mind, because the jokes themselves are quite good (especially GAG delivered to me with paintings), but here is what a thing: the game has actors of voice. One of them is voiced by the same voice that we hear until the end of the game. Another voice voices the most important reptile. What is this voice? Stephen Wait (Stephan Weyte). What is famous? The voice of Caleb from the same Blood. And the role of Spielberg in a short film. Chesuslovo, when I heard him, it was so unexpected, and when I found out – goosebumps ran to the very heels.

But the lack of voice acting GG and the abundance of a sparkling yumor, the game compensates for the very skills of the protagonist. Judge for yourself: a two-meter sympathy with a set of weapons is cleaner than in the notorious arsenal of San Francisco, in a long cloak and with a hat-rather clumsy colossus, it would seem. It would seem. This guy is gaining the speed of blue hedgehog on the AIDS literally in a couple of jumps diagonally, he can make a somersault in the air regardless of height and his hat does not even fall, and somehow at a sufficient speed he can make a tuck without taking off his cloak. How he succeeds? Even science does not know the answer.

Such skyscrapers in this world. The shopping center is a few, but the contingent is 9 of all 11.

But this is not all! The game begins with the fact that he is hung on two sickles launched under the shoulder blades, and the main character, in turn, gets away from them and in the future uses them for a local massarax in a single town. He can also pick up two hooks from the recent Tomb Iider restart, which allow him to crawl along the walls and jump into some crazy distances, without removing the weapon, even if at this particular moment these are two Scotgans. But that’s not all! The main character knows how to throw objects that are not screwed to the floor. A correctly abandoned wooden box is able to break even the strongest enemy into bloody porridge, and soap, which is found at each level in a single copy, sprays even bosses on atoms regardless of their amount of health. What is the strength of the protagonist, Huh?

I am not at my very well against the main character of the game is silent if he has such a set of skills, because it is much more interesting to run and drop/lift the soap, thereby destroying the popls of evil spirits than to run and listen to obscene jokes. Pretty equivalent exchange. If desired, by the way, any raised object can be washed into the toilet, regardless of the size of the object. If this cannot be called an achievement, then I don’t even know what can. This guy is so cool that he does not even need armor: her role is played by the joy of the selection of all sorts of expensive trinkets of gold or bags with values. Such a militarized greed. It is amazing that for some reason he needs a weapon in general.

Great Hanfighter

I See You have an eye for Things, Guns’s Not Just ‘Bout Shootin’, It’s ‘Bout Retloadin’. You’ll Know What I’m Talkin ” Bout.

We finally rolled to the most important thing, I would even say the fundamental element of the game: gameplay. The plot is not needed, the graphon is not needed, because everything was done here for the sake of gameplay, for the sake of the process itself.

The process is remarkable. Not without problems, but it is good. Shooting, as I said, is very well transmitted through the sound, the speed of the protagonist is very wild, and there are many enemies. The game, although inspired by the old shooters, there are some fundamental differences from those beloved and expensive.

The height, although it makes you visible to all enemies at once, in fact gives an excellent opportunity to take a breath, make a couple of shots and wait until the enemies are getting through each other below.

There are no smiling opponents from the word “in general” in the game: everything that inflicts damage to you, or must run to you and knock it, or flies to you without hiding your intentions. There is not a single enemy whose attacks you could not avoid when proper dexterity, and there is not a single shot from which you cannot dodge. All Prozectylals have a different appearance, different visual effects, different parameters depending on their addressee, which allows you to remarkly control the battlefield and pretend which way and how best to move. Or not to move, it depends on the location and the situation. The protagonist is nibbled and fast, so evasion of an impending threat is not an opportunity, but the most native way of self-defense, and there is not a single battle in the game that turns the game into stupid exchange with hitpotins, as was the case in some second part Quake or in any shooter on Build Engine.

If it seems to you that it sounds too simple, then no: it hurts here, and one frail soldier can destroy the whole bag of health with you in one gulp if you are imprudently close to him. You can avoid any damage (the last one, the most hellly difficulty in the game Dante Must Die is built on this), but this imposes more responsibility on you: any damage received is yours, and only your mistake. Plus, the attacks themselves are telegraphs themselves, and they can be seen in advance. Opponents, by the way, do not include animation of attacks every time they go to battle with you; Instead, they turn on the attack mode in case you interrupt visual contact with them, and they do not go out of this mode for several seconds, which allows them to make a shot exactly at the moment when you come out due to the corner. All this avoids some irritation and sensation of the cheapness of certain lesions.

The Genocide tools themselves came straight from the classics, and in addition to the emitting sickles, there are the following nishtyaki: a pistol, a shotgun of lever action, a double -barreled rifle, a sword, a crossbow, a scrambled long -range rifle, a mortar (grenade launcher) and a nail (missile). Classic set as it is, practically. The weapon does not have an alternative attack, except that you can take two pistols or shotgun in your hands. Plus, you can throw objects that are not screwed to the floor, and they inflict cosmic damage, allowing you to destroy and at the same time protect the ammunition. Barrels go to the same piggy bank, representing in the form of classic exploding canister and barrels, as well as in the form of barrels.

All guns, as mentioned above, create just excellent sensations from shooting due to sound. If you discard the sound, then the guns are purely visually delivered by a buzz: with a sufficient amount of damage, enemies are smeared into red clouds and landfills, a powerful animation follows each shot, and there is really a lot of damage, and there is not a single gun that would seem weak and useless. A separate praise deserves the absence of bastard hitmars, which every second developer tries to hide the absence in the game of normal shooting (agree, COD with hitmars feels better than COD without such). Thank you for without cheap crutches.

Blood looks incredibly juicy, although simple.

All guns fulfill some of their role, and do it well: pistols-auxiliary speed and always full slot; The sickles are applied little, but often, and therefore quickly clean the groups of weak mobs, while the sword hits slower, but noticeably more painfully, the plus has special opportunities; Scotgans have average damage, but a sufficient range for stable infusion of damage at close media distances, and the double-barreled steamfield is simply tremendous damage to close and insignificant damage at distant distances; The machine is similar to two pistols, but has less ammunition and noticeably greater damage; The cramping rifle causes great damage, allowing you to destroy small opponents from one shot and from two or three more fatty individuals, regardless of the distance to them, and also has good approximation, while the crossbow beats weaker and prozecty, that is, it does not immediately cause damage,But it can break through several opponents standing nearby or one after another (in any quantities), plus has a return that allows you to gain a height or sharply change the direction in the flight (by the way, you have absolutely complete control over the movement in the flight; the movement keys can be changed, albeit slowly); Finally, the nail explodes like a rocket launcher, and a grenade launcher hits the arc and has a delay: either bombs explode over time, either when PKM is pressed, or with direct contact with the enemy mascara.

Soap even breaks the surroundings even objects.

I didn’t just arrange the weapon in pairs: it may seem that the guns are interchangeable here, and in fact there are not eight trunks, but four, because what is the difference between a crossbow and a rifle, for example, if they are long -range, or between mortar and colomota, because they explode? Somewhere in medium complexity, the difference is really small, but you can generally ride a keyboard on the keyboard, running everywhere with sickles. But in fact, each gun has its own potential, and its disclosure is part of the pleasure. Mortira, for example, allows you to excellent damage around the corner, while the rocket launcher is obviously more suitable for frontal attacks, plus the rockets detonate immediately and fly for a long time, and the mortar allows you to create a cluster trap somewhere in the opponent’s path. Two pistols are great for monitoring a weak crowd, while the machine allows you to control strong opponents, stopping them in place or knocking them an animation of attack. The rifle gives almost a bathtub, but it reloads for a long time, which limits you; The crossbow for its thirty bolts allows you to apply a lot of damage to the group, while giving yourself acceleration from recoil; The coolness of the gameplay here is revealed primarily due to your personal skill and cold, as far as possible, calculation. The most important thing is that the game gives the necessary and enough ammunition in order to use all the weapons, and not to bother the most delicious trunk on the most heavy opponents.

Only the movement is more important than the guns: you need to constantly move, constantly move, like Hook in the tunnel. The game gives you jumping platforms, multi -storey levels with shelters and obstacles, and the main character is fast. At some point, the movement of diagonally jumps begins to feel like a second walk, and the tunes help to leave the attack line faster or just change the direction. The gestation is generally extremely cool: the main character is fast, all his movements are accurate, and in the air you turn off the axis block, that is, you can look in any direction in general and make coups in the air, without losing the opportunity to aim and shoot. The somersault in the air is perhaps the most useless skill of the protagonist, but it is still important, because every frag in somersault is unnecessary proof that you are the very first guy in this village, and your hand is the most accurate on the eastern side of the Wild West. The ability to choose and throw any object with death only fuels excitement, and the presence of rocketjump and recoil from crossbow bolts expand the possibilities for moving, evasion, searching for secrets and speedrane.

The first chapter is one big cliche about the horrors of village America, with almost Ku-Klux-clan and references to chainsaws.

By the way about secrets: there are a lot of them. Different degrees of simplicity of search: if you just turn a little from the obvious path to find some, then for others you need to get into some kind of nook, find a hidden portal, break a spoiled wall or be attentive in a different secret: sometimes the path to one lies somewhere in a room with another, only the presence of such secrets in secrets is much sweeter than the secrets in secrets. Most often there is some ammunition, less often bonuses, but in very special cases you can find a weapon that you should get at a level or two later. In short, there are a lot of reasons to look for secrets (in addition to Achivka and statistics at the end of the level), especially on higher difficulties.

Bonuses add heat: one makes it possible to go to the berserker mode, which increases the rate of fire (and only her), the other gives hooks, which allow you to move on any surfaces, another couple give megazdovy and protection from lava, and the last – the most strange – turns the game into a semblance Super Hot In every sense, except for visual. In people, I noticed, it raises questions of the berserker regime, he is a fiery totem: why do we need such nonsense if it only increases the speed of shooting? After all, it turns out that the final yield of damage does not change, which means that it is just a funny, but useless bun. Here I do not agree: the game requires the player accuracy of shooting at high speeds; This bonus increases the discharge of damage per second of time, but at the same time does not take the need to aim, that is, the game does not depart from its own concept. For my taste it is wonderful. Hooks give a cool opportunity to rise to a high point and jump quickly and far – more movement to the god! Perhaps Super Hot was really strange: the game gives you this bonus at those moments when there are many enemies, but in order for the bonus to work, you need to stand still, and delay in this game is like death. Aiming is easier, yes, but the rate of fire guns turn off the time stop when shooting. In short, the bonus came out very situational, and in full the pulp I did not figure out his pulp. In general, all the capabilities of the protagonist are used in one way or another.

The bonfire can be set fire to it, you can fry meat on it, which restores health. This is not said anywhere at all.

In addition to all this, there is a whole bunch of others, much less noticeable things. Sword? It hurts, yes. If you have more than 75 units of armor (or, in our case, the fighting spirit), the main character will beat off the attacks of opponents at a price of one unit of armor per prodechtil on the R button, and if you have more than a hundred health points, you can use a special, charged hit that causes tremendous tremendous damage. The R button is generally used by all guns: there are no reloading in the game, because the main character simply scrolls the weapon stylishly, and some guns at the same time cause damage, which is useful if you suddenly have been a mano-o-man with the enemy and he is already preparing you to knock-you can quickly bring down his attack. True, the main character does not know how to turn the crossbow. He throws up and scrolls around his axis an arrow only as a power of thought. Together with all these nishtyaks there is and, forgive me karmak, regeneration. One hitpone for a click. From the very beginning of the game, the protagonist has a cigar called to Nulik. On the left mouse button, the protagonist is delayed, and he can do it anywhere and anywhere: in hell, underground, in the sky, in somersault, under water, in a spacesuit – and this restores health. How do you like it, a poisonous snake? This buns, by the way, is perfect for those who want to play tofu and run levels without applying damage to opponents: you smoke yourself and jump like saigas, avoiding pain. By the way, Qigarch has an approximation, and it is much stronger than the same rifle. Why? I don’t know, maybe there is special grass there. Jay and Bob seems to be good guys.

Awareness of all the possibilities, all whistles and ruffles allows you to very successfully avoid the classic old -nourish scheme by the middle of the first passage. Previously, as it was: survived – went into the room – loaded – went into the room correctly. This is also a controversial moment, but since it was a question about the rooms, it is necessary to plunge into the left -end.

Two things should be noted here: firstly, I adore multi-story in games. The more floors, the more space, the more space, the more freedom, the more freedom, the more fun. I also just endure the underground or narrow -minded levels, especially if it is dark, as in the cave of Call of Juarez. For Sim I’ll say that in the game, in addition to the first, warm -up levels of the first chapter, there is not a single one that I did not like, and almost all of me were extremely arrived. The developers have a special approach: they made the first episode, people liked the levels, the developers decided to specifically engage in the following chapters so that they would become divine, and the transfers of releases went up to the moment when the Gabe steam engine asked the question: how long? It was worth it: the levels are excellent.

The insides of a giant machine. Stylish, fashionable and comfortable, unless there is not enough Valtiel.

High, multi-storey levels give such a sweet scope for a maneuver, accelerating and smearing missiles and bombs from a bird’s height, and aptly set from one end of the card to the other a shot from a rifle just warms the soul. Moreover, a multi -storey level can have only two floors, and at the same time be the wildest high, with balconies and crossings from corner to corner closer to the ceiling. Lepota.

More mundane “levels” give more shuttle: how do the struggle go on the same level with the enemy, and changes in the height do not always guarantee the success of the maneuver of evasion, plus enemies can fly and use jumping platforms, which can be funny in the case of some individuals. This is such a classic, I would even say plezentley from the world of classic Twitch-shutters.

Oddly the levels, oddly enough, deserved my respect. They are narrow, they are corridor, they give much less space for a maneuver. Most often they appear in the game when the developers need to make some special so-called Set Piece: staging. This can be either a representation of a new opponent, or an attempt to scare us, to impress with some particularly cool level/at the level, or simply appeal to some deepest nervous and annoying (in a good way) feelings. The Unseen, entirely dedicated to one opponent, gives the way to the game something invisible and terrible, forcing us to listen to sounds in the future, because this invisible initially appears at the level and does not show itself until you learn you. It breathes and leaves bloody traces. And it hurts painfully. And screams loudly, if you suddenly need to go out. Dark underground levels in this game are either so brilliant that I liked it with my preferences or so bad that they do not pull on full -fledged dark corridor levels. The second, you see, sounds like nonsense, so the choice is not great.

Darkness is a clear sign that you will pick you now. Someone.

The Infernal Machine with its noise, lighting with the design causes sincere rejection and inconvenience. Erebus Reactor lets us under cross -firing and perky music. The Ghost Town gives us a small piece of stealth at the very beginning and rather open, albeit a small city site with a bunch of secrets and branches. Head Cheese refers us to the old American horror about fields and Rednecs with chainsaws. Finally, the last chapter is the very segment of the game in which the developers completely untied their hands and began to make just bombing spectacles: an underground town resembling locations from a thief with a kind of gingerbread lighting (it is even called City of Shadows), rather terrible, semi-sedeline landscapes are rolled out at the Church in Blasphemy, something. Homecomping breaks gravity and sheds the smallest ray of light on the past of the protagonist. Finally, confrontations immediately occur with the main bosses, which are preceded by a long, but extremely cheerful Gountlet about waves of increasingly dangerous enemies. The last two levels are just a cosmos, and one of the bosses behaves as if it is another player who has your arsenal, and jumping, and other joys of life, and shortly before that we are thrown through pieces of previous levels, torn and mixed, and honest word, this is just for me: I adore a return to old locations, if it is justified and made in any way, like some kind of somewhat Gothic Role game.

All these things fall in just a wonderful, surprisingly high process. This dynamics, this weapon, which punch punch, as they say, and all these locations on which there are, where to turn around, and simply shocked music-all this creates some kind of special, cool experience. This is just the quintessence of all the good things that were found in old jokes, but on the AIDS. This is a damn witcher 3 from the world of hacking jesters, the game simply burns your hair with napalm!

There are bosses in the game, by the way. I have already mentioned two. They are suitable, to some extent. Why haven’t I mentioned the rest yet? Well, because everything is not as rosy as it might seem before that.

I drove a cheese through Abuez

“The best way to cope with any problems is to use the imperfection of artificial intelligence."

I can’t say that the game has a lot of problems, because for someone some things will not be problems at all, so described below for the most part-my opinion on the topic “What is bad."

A corpse stuck in the air. Nothing unusual.

Bosses. Fights with bosses in the game are only about seven (I can’t say the exact number for certain reasons). Some bosses are quite suitable: they throw difficulties, and the battles themselves are extremely fan (one of them is so a reference to the first Doom). But! Most of the battles with bosses are either simple, either boring, or everything at once, or on the map there is a way to lock AI in general. My experience of the first passage (and it was on the maximum complexity besides the one where you are killed from one blow) showed: they are killed rather out of ignorance or from surprise and only once at best. In the worst, you just roll out the boss, laugh if there is some kind of comic effect, and go on. Yes, soap will make any fight with the trivial boss, but this is not count, since this is a kind of joke, and soap still needs to be found and conveyed.

Calculate yourself: the first boss is actually Bullskvid from Half-Life, which is easy, extremely easy to twist on the spot and stain the first time without losing health units. The second battle with the boss is the Bullet Hell in two parts, in one of which painful, slow and large balls throw in you, and in the other – heaps of small, weak, but quick. It’s not only easy to evade them, but you can generally retreat to the entrance to the room and shoot the boss, and he will not do anything at all. The third battle is throwing a call, yes. The fourth battle with the boss is rather a joke, a joke to the boss from Rise of the Triad (2013) and Arnold Schwarznegger, and nothing complicated is not complicated. Another boss is the repetition of the old, the other is too simple. One more can be tanned by the same departure around the corner. The boss fish is just bad: he destroys the dynamics, and in itself unprofitable. The bosses are generally simple, and the battles are not thought out with them, and they are easy to abuse. The boss in the next picture can be shot before the battle begins at all.

Abuz in this game is generally a separate topic. For those who are in the tank: abuse is literally-violence against someone, or abuse of something. In the case of abuse games – the use of unbalanced mechanics or obvious flaws to achieve their goals. This is very similar to Cheese, that is, cheese, that is, the use of cheap tactics with the same effect. This game does not force you to use flaws; It turns out spontaneously, of course. For example: opponents cannot jump. At all. They can rise into the air if they have the opportunity to fly, or if they enter the jump platform, but they do not know how to use it adequately. The fight with the nearby adversary is often decided by the descent somewhere, where he cannot pass-it may even be a ledge, which is lower than the enemy by half of human height. Even the most powerful close -up adversary will not compete with the hero, rising slightly below or higher than him.

This is the strongest close -up opponent in the game, and he will never reach you, you can even cut it with sickles.

Similar to the dynamic objects: standing in a narrow aisle and putting a couple of objects in front of you, you will blocked the opponents of the path, because the objects will bounce from them into you, and from you-back, not allowing you to advance closer to you. In this case, the long -range opponents have more opportunities, because they can attack from afar, but here’s the bad luck: if you completely disappeared behind the dynamic object, they will not shoot at you, and, therefore, they will be stupidly stuck in the queue for decimation. The worst of all is flying opponents: their life is a real hell. They are slow, they fly high and they are very clearly visible. The saddest thing is that they cannot go down enough to go into passages where you can hide. At the Blassphemy level there is a long corridor, behind which there is a very high room where about seven opponents fly, and they simply crowd over the aisle, unable to go into it. You can simply accelerate and jump out of the passage, letting a couple of missiles into the crowd – no matter how it happened.

Without your help (!) These guys will never be able to go down the passage. Never. Very convenient, very easy.

Such things are found everywhere, and often work even when you do not want it or do not know about them. I would erect a monument to the one who has passed the game without a single such jamb, but I will never do it, not because I have no money and rights, but because it is simply impossible.

Similar situation with infatling (Infiting – the internal struggle is literally; If one enemy attacks the other, they forget about GG and begin to pick each other to death). This is a wonderful thing, gives a tactical advantage and all that, but calling it too, too easy, even on quite wide locations, where the NPC has a space for a maneuver. One bullet, which got the wrong way, clears up for you even the most densely populated locations. For example: closer to the end of the level of ThreSher, that in the second episode is a secret: a large room where a pair of nishtyakov and not the most powerful opponents in large quantities awaits you, and somewhere in the corner there is a portal that takes you to the entrance to this room-otherwise not to get out of it. I did not notice the portal until I jumped like a wild, and I didn’t even have time to make a frag, as I left the room. I go down, it means back, and there there were two fools and a bunch of cones and bullets on the corpses from the crowd. And this was more than once, both before this case, and after. Level E3M6 is generally a whole nursery of this kind of problem. Even in the game there are the so -called crystals of madness, which, during the split, create a large green cloud, entering which opponents go into the berserker mode and beat each other, completely forgetting about the player. At some point, I stopped using them, because it is too simple (although the game gives them out little and extremely rare).

Crystal of madness in action. Over time, a bunch of health fragments without your participation will gather here.

Secrets are just just a gun: while some are really hidden good and interesting, in really unexpected places, to find others just turn off the main path into some kind of corner that even a blind person will not pass by. It comes to the point of absurdity: things that you will not even consider for a secret will be secrets! By the middle of the second chapter it reached the ridiculous: at the sight of the next set of useful rolls, I thought to myself, but would this set will go for a secret? All the same E3M6 in this regard beat all the records: to find the local “secret”, it is enough to start the level, squeeze W, jump twice and turn right. ALL! This is a secret. One gets the impression that most of these “secrets” are some kind of half-knuckle over the player or just a parody of the concept of secrets in shooters, here I do not know. In the same set, strange secrets that are hidden right in the textures, like in some really bad fashion on a stalker United PAK 2.1. Fortunately, such jokes did not go outside the first episode. The number of items that can receive at least some attentive person generally turns some intervals of the game into a walk with scattering damage in all directions without special saving cartridges.

But that’s not all! Balance is stunted, oddly enough, a system of movement. The same jump that I got to the disposition does not punish. Firstly, as such a jump is not: to gain almost the maximum speed, it is enough to jump diagonally from the place. You stuck into the wall? It doesn’t matter, you will pick up the same speed in just a second. In the same Quake Such a mistake could destroy all your plans. Another thing is that many objects will not stop you: they are too streamlined, because you simply will not stick into them, because you need less attention to the environment, which is quite sad. Finally, how small and streamlined objects in the game are so big in opponents, the hitboxes.

This is a secret, and it is not hidden in any way. In general. Bank Prugls in a clean field is more difficult to notice than it.

This is made of understanding why: it is quite difficult to hit at high speed, especially if you have any crossbow in your hands. But in some cases, the size of the hitboxes brings the game to such a hardcore and adult game as Overwatch, and here it seems that we should decide the ability to move and aim exactly, yeah. I answer you, once I have two large purple cultists began to attack each other. They turned sideways to me, and there was a very noticeable distance between them-somewhere about one and a half outstretched hands. I let the arrow in the clearly empty space between them, and they both drove into another world. Such a ballet, in short.

Not sure if this can be attributed to the balance, but: difficulties. Difficulties in the game … let’s say this: play something below Cero Medo (Zero Fear, if in our opinion)-this is not serious. The difficulty in the game is affected by the speed of prodecons flying in you and damage from them, as well as the number of health points for opponents. In the case of certain opponents, the complexity determines how many prudes can be allowed into a certain period of time. Sometimes Cero Medo begins to seem too simple (especially after the third passage), and I want something cooler. And only Duskmare is cooler – this is a complexity on which it is still faster and even fatter, and you die from one hit. Unfortunately, this is not a pleasure for me, and I would only be glad of the same complexity, but without this controversial feature that also removes any need to look for health.

The most terrible, in my opinion, crime is the triviality of some battles. If you know how to react quickly or go through the game for the second or third times, when you explode to the next room, you will clean it extremely quickly. “But it’s cool, it encourages skill!”- you say. Yes. Only now the music will end exactly at the moment when you get the last enemy, and I, fuck, like the local music! >: |

Together with all this, it is probably necessary to note some technical flaws. The non -lethal opponents killed in the air remain there to hang, because their physical model simply turns off. The green cloud from crystals of madness disappears after loading, which can spoil your plans. Water does not affect objects in principle: objects do not swim, they fly through it like through the air, as if there is no water at all. This is weird. Finally, in City of Shadows in the doorways of some buildings there are seams that you can rest when trying to go through. One day it has already killed me. Finally, sometimes the game will count the killings as yours even when you do not kill anyone for the pacifist. This can annoy, and the fact that you most likely get your first pacifist in the game at the very last level will make the situation even more strange.

WHADDAYA SELLIN ‘?

AH, i’LL Buy it at a High Price.

There are a lot of problems in the game, as you have already noticed. They can embarrass, irritate, surprise and all that. Nevertheless, I would rather call it a “heap”, because these problems are as much as they are small. Yes, the battles with bosses are similar to eating a softened sandwich with a horse, but everything else … I haad a blast, as they say. The developer could not cope with everything at once, but this is damn pleasant, damn interesting, reigree and extremely high -quality experience. The game brings great pleasure from the process of extermination itself, and purely for the sake of the genocide, the regime was even made. consisting of endless waves of enemies on three different locations.

This game has come a long way. Several deferred releases, a small problem with Steam, some instability and spontaneity of development – many things could interfere with the release of the game. The first demo version that David made specifically for a private demonstration to the publishers was never in demand. But the ideological guy: he did his very first shooter at all in 2011, and since then he has not stopped in the way, having finally reached the release of his first full -fledged commercial game. I am very pleased to observe that the game has received commercial success and positive opinions from critics, because it opens up even greater opportunities in front of a person, and a person in the game is clearly fumbles, and it is clearly hinting at the forums: the studio is already working on something (in addition to dance releases on the consoles).

The game is good. As in any project, there are flaws in it, and not everyone will like the visual, but in its league it is clearly among the first and best. I strongly recommend that you familiarize yourself with the game if you do not breathe evenly to such shooters, because such powerful things rarely come out, and even with such a primitive fan, and even for such a rather symbolic price and with this excellent, low voice, Steven, mmm. I am pleased with the game, and I hope that you liked my wordblood, and if you have criticism, constructive or not, I will gladly accept it.

Postscript: I forgot to write about that (it does not go to the composition) that the developers TRI times use the same twist with a breakdown of a flashlight In order to create a frightening moment. Yes, it turns out to catch up with horror. But it’s too cheap. Too much. Doom 3 Level of Shit Again.