SOMA

Ya oyun güzel de çok angarya iş yaptırıyor amına koyim. Sinematikte olacak şeyleri biz yapıyoruz. Roketi launchera koymak gibi. Hikayesi güzel, oynamaya değer fakat oynamaktansa izlemeyi tercih ederdim.

Buenisimoo

Игра с глубокой философией. Как-то грустно после прохождения :(

SOMA is a 10/10 game for me, gameplay is great, the sound design is unreal, the scenery/environment graphics are great, and the story is such a unique concept for a horror game. If you're mainly into psychological horror this game is definitely worth your while. Yes, there is a bit of gore and there are some monsters, but almost all are evadable/trappable, and are not made to be obstacles at the heart of the game, but rather parts of a larger story that you uncover as you go from place to place. MORE DETAILED REVIEW BELOW. SPOILERS AHEAD. READ ON AT YOUR OWN CAUTION. I just finished my first full playthrough and holy moly SOMA is possibly the most immersive game I've ever played. I'm a horror movie fan but not a huge horror game person -- I hate jumpscare horror; I'm a lot more into dread and existential despair, etc. The monsters can be terrifying (RIP to my soul when I met Terry) but you get breaks from that. The real closure you never get is in the question of the materiality of our own existence that the game poses itself. There's a certain body (or lack thereof) horror that Simon experiences after his awakening, although I'd argue that his true "awakening" doesn't happen until the very end of the game. The entire game is his own denial, and cracks start to form as his consciousness slowly allows him to see himself in the suit... and body... of another person. Simon's suit transfer at Omicron is the most haunting part of the game for me. Knowing that we follow the copy that transferred over into the Haimatsu suit containing the remains of Dispatcher Raleigh Herber, and directly after have the chance to relieve the consciousness of Simon still lingering in the body of Engineer Imogen Reed from its tortured (albeit animated and lively) existence. This game screws with your head. I'm looking forward to the inevitable psychological warfare that Frictional will inflict upon me when ONTOS releases.

Entré sin saber que esperar y es lo mejor que pueden hacer, no lean nada antes de jugarlo. Sin dudas te hace cuestionar tu propia existencia.

very goob

Classic make-you-think sci-fi, that only benefits from being recontextualized in the age of tech companies forcing AI on the world. Relevant, interesting, and the rare game that's written beyond an eighth-grade level, the art design holds up well and the scary parts are actually pretty scary at times (and i rarely find games scary anymore-- it's an age thing i think). I also loved the satisfying physics of interacting with objects-- opening drawers and panels, picking things up, it works so much better here than in other games. As does the story and the setting and the telling of that story's wide scope in a way that conceals its limited budget, and how you actually feel something when you're finished with it, and more so than with many games that are ten times the length. They did their jobs here as storytellers and this game is worth playing as a result. NOTE: like all good games its imperfections become largely irrelevant, but SOMA does offer a good example of voice acting vs voice direction, the latter generally being harder for an audience to understand the importance of. In this case, the voice performances of the leads are great in and of themselves, but often they don't quite match the context of the scene, or feature wild shifts in tone that don't necessarily work-- all of which is the director's responsibility to manage. A good director would ensure the performances match the scene and where the characters are in their journey, and would better even out the emotional peaks in the writing, which doesn't happen here. Again, it doesn't bring the game down at all, it's just an interesting case study for anyone wondering what difference a director makes. When directing is good, you don't notice it because everything is natural and consistent-- only in its absence does it become visible.

The story and the world is awesome and that is what carried my interest to complete the game. Game itself is honestly kinda meh. The game runs kinda ass, had to disable framerate limit from config file and used Special K to force some settings recommended in Reddit. The enemies are not scary, just annoying, making your vision f-ed up. But, the biggest sin imo is that the underwater sounds are not underwater sounding... it all mostly sounded like there is not water.

I mean wow... how the heck was it THIS good?! Amazing story, the horror is actually really enjoyable (and not punishing... like a certain toy factory horror game with 5 chapters so far and there still isn't a story...), and wow what a mindf**k for our poor protagonist. After completing the game, go check out the _supersecret.rar file for all the dev's brainstoring and bugs haha.

это просто невероятная игра. я не знаю, как правильно описать то, что я ощущал, когда приходилось идти вперед по сюжету. он направляет на очень глубокие размышления, ведь какая бы ни была идея - её нужно подать так, чтобы ты дал ей ценность, что она действительно имеет место. и она имеет. это настолько хорошо продуманная вселенная и сама по себе хорошо и интересно сделанная игра, что ассоциировать себя с персонажем удаётся черезчур сильно. ну и в итоге, эта интеграция и выигрывает основной идее, ведь я не поверил в неё, ибо она безумна, но как раз таки понимаю её ценность - ценность этого ужаса, который всяческими способами даёт о себе знать в разных проявлениях, и в самом конце достигает предела, но этот ужас, одновременно вводит в сильный ступор. однозначно стоящая игра