TItle: Antichamber Designer: Alexander Bruce Publisher: Demruth Music Composed by: Siddartha Barnhoorn Engine: Unreal Engine 3 Release Date: January 31, 2013 IntroductionOf the many titles to appear on the indie scene over the years, few have piqued my interest as much as Antichamber. Originally conceived as a multiplayer combat arena version of the game Snake, the game is another story of a side project that became an award-winning success story. Its minimalist art style, soothing soundtrack and mind-bending, space-warping puzzles all combine to create an experience that, while no Portal, stands out as unique and engrossing amidst a multitude of other such first-person puzzlers. You can buy it on Steam for $19.99, though I really recommend that you be a fan of puzzle games if you're interested, as it can force you to rely heavily on intuition and inference, which, if you're low on either, can spoil the experience. This is a true brain-twister. There are no inscrutable riddles requiring knowledge of Shakespeare, but there are plenty of moments that require a pause for consideration and rethinking, so be sure of your temperament before purchasing. The game is not without a sense of humor, or irony for that matter. I personally found myself thinking the same as this signpost quite a bit throughout my playthrough. However, the game encourages determination. If at first you don't succeed, come back after a little thought. GameplayAntichamber's abstract design eschews story in favor of simplicity. The game plays more like a series of life lessons that, as with so many things in reality, must be learned via trial and error. You play a faceless, nameless, voiceless protagonist who wakes in a small white and black room, an antechamber of sorts (ha-ha, irony), with a screen on one wall displaying a map that will fill out as you discover new areas and a timer that starts at ninety minutes. Don't worry about the timer however. If anything can be said about Antichamber, it's that it's inherently relaxing and there are no consequences for failure except perhaps some back-tracking. This may be spoiling the experience, but I believe the timer exists to stress the player for the first hour and a half, much like how many people stress about how childhood is too short, or that there always seems to be a deadline for everything. In truth, you cannot beat the entire game before the timer runs out, as once it depletes, it gives you a new panel to look at. To quote the game itself: "Sometimes it's about the journey and not getting to the end." Once you leave the black box you begin in, you are thrust into a world of non-Euclidean rules, where virtually anything is possible. The game masterfully plays on expectations, with every puzzle pushing the player to consider the rules of reality and how they might be broken. One perfect example of this is a puzzle involving a pair of staircases, one red, one blue, and both leading opposite directions. While it seems simple at face value, descending or ascending both lead the player in an Escher-like loop that inevitably leaves them back where they started. I won't spoil the solution, but this is just one of many such initially frustrating, but thought-provoking conundrums the game offers. Eventually, when the basic mechanics of movement and various bizarre environmental mechanics have been showcased, new features are introduced, starting with a 'matter gun' that allows players to suck up and deposit the various types of colored cubes that exist throughout the game, all of which have unique functions and serve innumerable purposes. Of course, to manipulate each of the four types of 'matter', you must collect upgrades for your instrument through the completion of specific puzzle sequences. Apart from this forced progression, the rest of the game is remarkably open to roaming. Cleverly hidden shortcuts provide access to new and ever more devious problems to solve, while a fast-travel system, accessible via the map in the main antechamber, allows you to teleport straight to any previously completed section. Each puzzle is identified by a black square with a pictograph on the wall near it that acts as both checkpoint and humorous explanation for what lesson the puzzle is trying to teach. Of course, one of the most important parts of the game is that nothing is explained to you directly. Apart from some basic info on how to control your character, written on the wall of the starting room, the game expects you to work out everything on your own. Normally this would be terrible, but Antichamber is so bereft of punishment or consequences that it really doesn't feel so bad. It can get frustrating if you run up a puzzle that repeatedly rebuffs your attempts to solve it, but eventually you realize that as in life, some things are best approached later, with more preparation. The learning process feels fluid and exciting, with every success evoking a variety of emotions. Sometimes you'll read the message behind the checkpoint and feel abashed that you didn't work it out sooner, while on other occasions, you'll feel relieved or even amused. The game is all about perception, and reminds you of it constantly. When reality makes no sense, try looking at a problem differently. You'll be amazed at how solutions seem to appear like magic once you stop trusting the rules of physics Of course, the game's replay value is limited, like most puzzle games. There are a few secret rooms, and mysterious pink cubes that serve no purpose but are fun to track down, but apart from the main experience, Antichamber is generally something you'll want to play once or twice a year, if you're really enthusiastic. It's an unfortunate truth about adventure games revolving around puzzles that you can only play them so often, or else you run the risk of memorizing the solutions and thus spoiling the experience. This is especially true of Antichamber, where working things out for yourself is half the fun. Also, unlike some other titles, the puzzles generally only have one solution, which limits freedom of choice when it comes to solving them. It's unfortunate, but the game's efforts to make every problem a parable, it sacrifices flexibility in terms of solutions for communicating the messages behind its madness. Sound & DesignAntichamber's entire structuring is very much rooted in New Age and Minimalist styles. The blank white environment, disrupted by splotches of bright and vibrant colors, could almost be considered a metaphor for life itself: long boring intervals punctuated by bouts of excitement and emotion. Outlines are sharp, almost cell-shaded, defining every twist and turn clearly. Meanwhile, a powerful combination of nature-noises, chimes and calming tones permeate everything, preventing the abstract and alien environment from feeling empty or menacing. There are no loud or sharp noises, in fact. Everything is dampened in terms of sound. Thrumming, the rustle of the wind, thumping; all are present, but apart from some distant thunder, there was nothing like the crackling buzz of electricity or any sort of violent klaxon. The world feels stripped down, bereft of danger (though not without moments of shock). It's an interesting sensation to play a game without stakes and where there seems to be no pressure. This may not sit well with everyone, but then the game isn't about being rewarded. It's about learning as you go. Again, the journey is everything. Some puzzles have multiple phases as well as forking paths. This room in particular will have you coming back more than once after upgrading your matter gun with new capabilities. Meanwhile, each exit leads to a different puzzle, with its own set of lessons to teach. Final VerdictHow do you rate something that's never been done before? In my experience, Antichamber is unique. I have never seen a game that tests its player so; that challenges them to reach the answer for themselves. Nor have I ever seen a title play so creatively with expectations and reality. It's a slap in the face to all the conditioning inflicted by the games that have come before it. It rarely holds your hand, but it's puzzles are never inscrutable or impossible. It teaches you its mechanics fluidly, allowing you to reach your own conclusions, while forcing you to constantly challenge any assumptions you might make. It may not have a story, but a story would defeat the purpose of the game. Certainly, it's bare-bones aesthetics may not charm everyone, and it's certainly not for those without patience, but those are matters of personal preference. Antichamber, like it or not, is a brilliant game, with more mind-bending cleverness than an art exhibit by Escher himself. I highly recommend it. After all, a journey of self-discovery is always worth taking.
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TItle: Penumbra - Overture Developer: Frictional Games Publisher: Paradox Interactive Writers: Thomas Grip, Jens Nilsson, Tom Jubert Music Composed by: Mikko Tarmia Engine: HPLovecraft Engine Release Date: May 8, 2007 Frictional Games have been touted as the masters of the modern survival-horror genre ever since their release of Amnesia: The Dark Descent, a game that reminded gamers everywhere what true horror was really about. Before the release of their seminal masterpiece however, they were better known as the creators of the Penumbra trilogy, a series of games that laid the groundwork for their terrifying magnum opus. Penumbra: Overture was the first installment in that trilogy, and despite its age, should be given due consideration from any true survival-horror fan, for though it is not without flaws, it is just as deserving of recognition as its younger, more well-known cousin. For those less well versed in gaming nomenclature, survival-horror is largely what it sounds like: a game that focuses on the survival of the player character as they struggle to endure in a hostile and terrifying environment. It's most classic iteration is that of the haunted house, where scripted surprises and roaming terrors seek to keep the player on their toes and tense with anticipation. Puzzles are often included as barriers to progression, while stealth is emphasized and combat is either discouraged or nonexistent. Overture takes all of this into account in its efforts to spook the player while providing an engrossing experience, working hard to build an atmosphere so thick with dread you couldn't cut it with a bloody cleaver. Penumbra's story bears heavy signs of influence from the works of H.P. Lovecraft, best known for his popularization of the genre of 'cosmic horror' and being a card-carrying racist. Fear of the unknown is a powerful theme throughout his works, as is the concept of 'forbidden knowledge'. His famous Cthulhu mythos, which was opened to the public domain for expansion by other writers on his death, is full of cases of scholars and men of science who stray too far off the edge of the map and discover things so horrible that they are driven to insanity as a means of coping. Being in the light doesn't always mean you're safe. It may just mean that something else can see you and is running towards you out of the dark, teeth snapping and jaws drooling. These themes run strong in Overture, as the story opens with Phillip, a 30-year-old physics teacher, receiving a letter from his father (who he has been told died before he was born) shortly after his mother's funeral. The missive instructs him to destroy the contents of a safety deposit box in Mayfair which he has just inherited, and to ask no further questions. Phillip, of course, disobeys and reads the papers contained within, which lead him to an unmarked mine in the frozen wastes of Greenland. Determined to learn his father's fate, he sets out alone to investigate, before summarily getting lost in a blizzard and climbing down an access shaft to escape the elements. From there, everything goes downhill. Overture, like many games before and after it, conveys its plot through written notes that must be collected by the player during the course of exploration. Each one contains fresh information pertaining to the nature of the mine, its history, and its victims, of which there are many. Some contain clues to aid in the solving of the various puzzles that serve to obstruct Phillip as he tries to find either his father or some answers. All of this is complimented by the frequent ramblings of an unseen character named Red who has control of a shortwave radio which he uses to contact Phillip now and then, Penumbra's tale is told in the best tradition of Lovecraftian storytelling, wherein much is implied, but never fully stated. Imagination is always more enticing and terrifying than fact. Thus does the mystery of the mine keep you moving forward while the dread it instills makes you want to turn back, keeping you edging forward and jumping at every flicker of the lights. While there is much to be said for the handling of the story, the mechanics also shines through too. Overture's subterranean setting is often dark, but the game quickly gives you the tools to manage this, including a flashlight, a glow-stick and flares, all of which have their own pros and cons regarding usage. For example, the flashlight's piercing beam is useful, but can attract the attention of monsters if you're not careful. Also, it runs on batteries, which must be scavenged for in the environment. Meanwhile, the glow-stick suffers no such limitations on lifespan and rarely attracts attention, but only provides enough light to see a couple feet ahead of you. This clever triangle of light management comes into play quite often as you sneak around or otherwise try to avoid the mine's unsavory inhabitants. Chief among these are starving wolves, which would be simple enough were it not for the fact that close examination quickly reveals that these are not your ordinary ancestors of man's best friend. If you attract their attention it's best to hide from them, which can be done by crouching behind objects or in dark corners. The game also discourages looking at your enemies while hiding, as it will give Phillip a panic attack, causing his heavy breathing to alert foes to his presence. Who's a good doggie? You are, yes you are yo- AGGGHHHH!!! GET AWAY! GET AWAY!!! BAD TOUCH! BAD TOUCH!! BAD TOUCH!!! A good survival-horror game balances panic and dread, with a greater emphasis towards the latter. Panic is fleeting, whereas dread spiced with bouts of panic make for a more savory horror experience. Overture cultivates this in many ways, using every avenue to construct an atmosphere ripe for the soiling of pants, but none is more powerful than the soundscape. I have previously said that good sound design is one of the cornerstones of a great horror game, and this is where Frictional Games stands truly without rival. Their skillful use of silence and noise, as well as a menacing, unsettling soundtrack, combine to provide an almost-perfect paranoia-inducing auditory blend. Overture was the first game to make me need to take breaks to release the tension that the sound design had generated. I'm certainly not saying it's on par with Amnesia, whose sound design should be considered a physical threat to someone's mental stability, but the level of competence demonstrated is simply awe-inspiring, not to mention unsettling. One might suspect the development team must've made a deal with one of Lovecraft's elder gods to be this good. Apparently, the company does all its own sound design in the studio, meaning almost nothing is reused or recycled, and making every creak of wood and crunch of snow all the more meaningful and fresh. A good example of this application of sound can be found in the opening hour of the game. Shortly after trapping himself in the mine, Phillip decides the only way out is through. Descending into the frigid tunnels below, he leaves behind the entrance area, where despite being alone, there is the steady background noise of the howling blizzard to be heard through the hatch he used to enter. As soon as he goes further though, silence falls, with not even background music to provide comfort. The transition is jarring and unsettling, reminding the player they've just moved deeper into isolation and away from the outside world. It is the calm before a storm, and just when it's settled in that you're alone, something growls in the darkness; your first enemy. Sound is a powerful element for immersion of course, but its not all that Overture has in that department. Like the games that would follow, this first episode of the Penumbra trilogy includes the ability to pick up and manipulate virtually every object you come across, from rocks and barrels to sticks of dynamite. This is often used to impressive effect for puzzle-solving, as players are forced to turn wheels by moving the mouse in circles, or carrying items in front of them instead of in an unseen bag of holding, as in most other adventure titles. This renders mundane tasks more visceral and real, providing a level of agency to the player that few other first-person games of the time did. The system even plays into the stealth mechanics, allowing you to heft various objects, such as rocks, barrels, or even your supply of flares, into the dark as a means of distracting enemies hunting you. As you descend deeper, the environment changes, going from rustic and crumbling to ever-more established and modern, providing a sense of a journey through history as well as mystery. Of course, Overture is not without faults of course, being the first installment in the series. Most are minor quirks, such as the amusing physics glitches that are the hallmark of this early version the H.P. Lovecraft Engine, or the If one flaw stands out above all the others though, it is the fact that eventually you are given the means to defend yourself. Yes, the pickax you eventually pick up is clumsy and unwieldy, which helps discourage combat, and yes, the enemies you face often have numbers or endurance on their side, but the fact remains that once you have an instrument with which to fight back, the threat to the player is diminished, and so too is the terror. On a more picky note, the graphics of the game are rather dated, though if you're like me, then they only add to the atmosphere. The slightly blurred and sometimes low-quality nature of textures helps lend a sensation of surrealism, as if everything is taking place in a nightmare. Many developers feel ultra-realism is a major means of enhancing immersion. Personally I feel sound design takes precedent, but then it's all about the attitude you approach the game with. Really, I feel its unfair to make such criticisms in any case. When you consider that Overture was crafted at a time when Frictional Games consisted of four people who were using an engine they had built themselves and who had never released another game, it's hard not to feel impressed that they managed to produce such a high quality product despite the obstacles. The game ends with a cliffhanger, which is unsurprising given the series was meant to be released episodically. The whole thing adds up to maybe six or seven hours of gameplay, which again, can be contributed to the fact that it was made as part of a planned series. It doesn't overstay its welcome, and leaves you hungry for more, as any good game should. If you're a fan of the survival-horror genre then it's well worth your time and money. Overture and it's sequels are available on Steam as part of the Penumbra Collector's Pack for a mere $9.99. Check it out, but don't complain to me about any soiled undergarments afterwards. Minimum System Requirements
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