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From: www.gamesradar.com

Metal Gear Solid 5 is all about that (Mother) Base

Added: 09.06.2015 21:08 | 31 views | 0 comments


showed us just how important Mother Base is to The Phantom Pain. After the events of Ground Zeroes, Big Boss and friends aim to rebuild their off-shore military fortress bigger and better than ever, and this fully explorable facility is massive.

As you Fulton soldiers to recruit them into your army, you can assign them to different departments, like RD, Medical, and Intel. Assigning them to the right department will determine the kind of upgrades you're able to research - so if you feel like snagging that rocket launcher sooner rather than later, perhaps it's best to shift your employees around to make it happen. Plus, there are specialists out on the field, capable of unlocking unique gear and special features within Mother Base. The Phantom Pain even has its own version of Dragon Age: Inquisition's War Table, allowing you to send combat troops out on timed missions to earn items and make Big Boss' life in the field a little easier. Many of these missions can take hours, though, so while you're off doing important life stuff (like sleeping), make sure your soldiers are working hard before you sign off. When you log back in, you'll find the results of their excursions waiting for you.

While the shift to open-world stealth gameplay means blowing out certain aspects of Metal Gear Solid’s design, it also means scaling back on others, and in The Phantom Pain's case, that means dialing down the cutscenes. Not that there won't be any long-winded monologues, but the first 16 hours or so of the game puts a much larger emphasis on the gameplay, and you won't have to twiddle your thumbs waiting for the action to get going.

For a nice change of pace, The Phantom Pain puts a lot of its secondary information on cassette tapes, rather than dumping everything on you via hours of static codec conversations. Want to know more about the political landscape of the early 1980s or what happened to your comrades after the events of Peace Walker? Pop in a tape while you're travelling across Afghanistan or exploring Mother Base.

Unlike other Metal Gear games, Big Boss won't be funnelled down a linear path from the beginning of the story to its end. Instead, you'll choose from a variety of missions from a menu, similar to the PSP entry, Peace Walker.

You get a series of story-based mission that will further The Phantom Pain's narrative, but you also have a huge variety of Extra Ops to choose from, ranging from assassination missions, to recruiting specific soldiers, or even hunting down old members of your squad. Completing these missions will reward you with additional resources, which you can then use to build extra weapons and gear. If you're stuck on a particularly difficult story mission, take on a few side quests, research a rocket launcher, and blow up your problems with ease.

While we know the, ahem, clothing-deprived Quiet and Big Boss' horse can help out in the field, two other buddies can accompany Big Boss in his stealthy endeavors. If you're observant, you'll be able to find and recruit your own wolf pup, who can then be used to either distract guards or attack them on cue. Taking any of these buddies with you on missions will make them more loyal to you, and the higher their loyalty level, the more responsive they are to your commands.

The other buddy is a bit less… organic than the others. After a certain point in the story, Big Boss will get his hands on what looks like a mini-Metal Gear - a bipedal battle tank with a built in tranquilizer. Despite its default lumbering gait, it's surprisingly versatile, allowing you to speed across vast distances with its boosters, or to sneak across the battlefield by activating its 'silent running' option.

The latest feature revealed for Metal Gear Solid 5: The Phantom Pain will make Snake a nigh-undetectable master of stealth and subterfuge… and will also make him look completely ridiculous. Konami recently revealed the glorious chicken hat, a piece of equipment which players will be offered if they get killed or otherwise fail in Snake's quest for vengeance too many times.

You're free to pass on the hat, but you'd be giving up one of the most versatile tools in tactical espionage action that isn't made from corrugated paper. Guards don't tend to get out of sorts when they see Snake wearing it (unless he sticks around too long or starts shooting at them), because they think he's just a harmless chicken. Just a harmless, man-sized chicken with an eyepatch and a robot arm. Apparently there's no penalty for wearing the hat other than occasionally catching its weary stare as you try to follow otherwise serious cut scenes.

Looking for formation on Metal Gear Solid 5: The Phantom Pain? Click on for everything we know about the game.

At The Game Awards 2014, a new trailer for Metal Gear Online - the multiplayer companion to Metal Gear Solid V: The Phantom Pain - was shown. Right off the bat, it looks like you can have eight players on a team - if the above image is any indication. The developers did confirm that the Metal Gear Solid characters themselves will be playable, so you won't be running around as a bunch of generic-military-shooter-men (though there are still plenty of those).

In the ensuing firefight, a variety of traps and tools were shown. Early on Snake hijacked what very much looked like a tiny Metal Gear built for one, and rode it around the battlefield wreaking havoc. Not necessarily the stealthiest way to go about it, but it sure looked like fun. As for traps, the opposing team deployed a balloon mine that, when triggered, hoisted an unsuspecting player up into the air for easy shooting. They also had a… um… stuffed dog toy that they just dropped on the ground. This seemed to function much like the dirty magazines of yore, leaving its victim hopelessly infatuated (and ready to get shot down).

Looking for formation on Metal Gear Solid 5: The Phantom Pain. Just click on to the following slides for everything we know about the game.

There's a fresh gameplay demo of Metal Gear Solid 5, and it's stuffed full of new features. You can watch the video underneath this article, but here are some of the highlights... It shows a typical mission in one of Phantom Pain's open-mission areas. Snake is sent in to extract a hostage, and he takes new female companion Quiet with him. She has the ability to evaporate into a cloud of smoke, and reappear at set locations on the map. So, as Snake progresses through the woodlands in this demo, Quiet moves around the level to cover him with sniper fire.

While Snake can take out most enemies himself, Quiet is used as a back-up or for removing multiple threats at once. The hostage, for example, has two guards. Snake coordinates with Quiet, picking a target each to eliminate them at the same time. Apparently, there will be other allies that can be used as support characters throughout the Phantom Pain. Before you ask: it's unlikely they'll be human-controlled characters.

The demo shows off several interesting gadgets and moves too. We see the Phantom Cigar in action, which Snake can smoke to pass the time. This will allow you to change the conditions for each mission. In the demo, it's a dank, rainy day to start with but, as Snake puffs on his stogie, time passes. Night comes and goes, and the next day is much more clement. It's understandable that you'd want to tackle some missions at night, but it's unclear if the weather or time of day will have much impact on the gameplay.

Another nifty gadget is the Active Decoy. In the demo, Snake uses it in two ways. The first, rather amusing use, sees him bump a guard off a cliff-edge with the decoy. It then inflates in the shape of a person, drawing the attention of another near-by enemy. Snake then zaps this distracted fool with a power-glove. Later in the demo, Snake deploys three decoys while he's being chased by a group of militia. While they shoot up the inflatables, causing them to wither in a comedy fashion, Snake flanks his opponents and shoots them dead.

Even Metal Gear fans will admit the series history is really hard to nail down, so let's make it clear right now: The Phantom Pain's Snake is Big Boss, aka Naked Snake in Metal Gear Solid 3, the star of Peace Walker, father to Solid Snake, and the villain of the original Metal Gear game. It's set in 1984, 11 years before Solid's first battle with Big Boss. In The Phantom Pain, Snake is just trying to rebuild.

According to early sources, his nickname for MGS5 appears to be Venom Snake, likely because he's filled with venomous rage in a quest for revenge on the people that killed and tortured those closest to him. He plans to do a lot of damage, but he's got to do a lot of rebuilding first. In fact, Snake himself has been rebuilt this time, including a newly acquired cybernetic arm and some very different gameplay.

The Phantom Pain appears to begin with Big Boss/Snake dead on a stretcher. He's eventually revived and but is in a coma for the next nine years. When he awakes, he's missing an arm and has to quickly relearn his motor skills, because the hospital he's staying in is under attack. After escaping, Snake is set on revenge on the mercenaries that did this to him, so he starts to rebuild his army, this time under the David Bowie-esque moniker Diamond Dogs.

The Phantom Pain seems to be a lengthy tale of revenge on the part of Snake, as he slowly builds up the private military group that will presumably become Outer Heaven. As he rebuilds his reputation on the battlefield, Snake will meet friends old and new, as well as taking out armed guards with tranquilizers and CQCs. But will he find the mysterious XOF team that seems to be responsible for all his pain?

Classic Metal Gear games are known for sneaking in tight corridors and quiet hallways, though the series opened up more and more with each sequel. The Phantom Pain makes the world bigger than ever by adopting a truly open world gameplay. Snake gets dropped into a base and can explore it however he likes, planning his approach however he chooses, using new tools like the iDroid to mark waypoints along the way.

The changes feel natural for the franchise because the combat is still there, you just have way more places to hide. MGS has always been about giving players room to experiment, and Phantom Pain's map is apparently bigger than every previous Metal Gear combined. That's a lot of space to drag around bodies.

It took years before MGS creator Hideo Kojima announced The Phantom Pain, but he was talking up the game's technology long before we ever saw Snake's new arm. Kojima built the Fox Engine to be a flexible set of tools for making games for both 360/PS3 and Xbox One/PS4, able to create natural looking environments and realistic fabrics with ease. Now that we've seen the fifth Metal Gear Solid in action, we have to admit that the Fox Engine looks like a success.

MGS5's prologue, looked incredible--even the rocks were worth gawking at. Facial animations were marvelous, as were the weather systems and shifting time of day. Early footage of Phantom Pain seems to only build on Ground Zeroes visuals, looking better with each new trailer and screen. The series has always looked great and MGS5 doesn't look to ruin that reputation.

MGS5 has some insanely huge maps, so it's a good thing that Kojima isn't forcing Big Boss to crawl around the miles of open world. For the first time in series history, MGS5 adds in drivable vehicles, putting Big Boss behind the wheel of jeeps and tanks. He can even ride a horse around the world, as we've seen in an early Afghanistan level, and the horse defecates in real time--seriously, new-gen horse poop.

Snake can also take to the air via helicopter. Though Snake is alone on his tactical espionage missions, he can call for help from his team, including airstrikes via copters that he can ride along in. How will all these transportation options change the gameplay? And what other planes, trains, and automobiles will be available in the final game?

Snake already had to deal with losing an eye, but when he wakes up in his hospital bed he has to come to terms with losing his left arm and having chunks of shrapnel embedded in his skull. His prosthetic is pretty advanced for 1984, with all the maneuverability of a normal arm, but with special abilities. Do you recall how Snake normally taps on a wall to call over a curious guard? Well, that arm can now make that arm wherever, no wall needed. How's that for advanced?

Snake's cybernetic enhancement fits with a series full of augmented characters like Gray Fox, Raiden, and Revolver Ocelot, and the tech advancements don't stop there. Snake's iDroid is a great asset for planning out missions, summoning weapons, or listening to emotionally draining conversations. And to help time pass in game, Big Boss now has an e-cigar that he smokes while the in-game clock quickly advances.

The whole of MGS 5’s narrative is split and seems to be pre- and post-coma. Before Snake heads off to dreamland, he’s seen assisting a familiar face in the accompanying hospital bed. Master Miller (a.k.a. Kazuhira Miller) had teamed up with Big Boss prior to the Peace Walker incident to form Militaires Sans Frontières. When Boss awakes, Miller has been kidnapped and Snake has save his old friend from being tortured to death. And Snake gets help from his classic frenemy, Revolver Ocelot.

With Ocelot, Miller, and other familiar faces hanging around, the game still finds room for new characters. There's The Quiet, a controversial femme fatale that seems to have a complicated past. There's also a character that looks a bit like Psycho Mantis, as well as some other potential bosses with wacky names, such as Skull Face, Code Talker, and Eli. We look forward to hearing their life stories in separate 40 minute cutscenes.

Many Metal Gear fans skipped over the PSP entries in the series, which is too bad, and not just because they were fun. Peace Walker appears to be very important to the plot of The Phantom Pain, and MGS5 is even adopting some of the portable entry's most ambitious ideas. Namely, MGS5 has the return of the Mother Base and Recruitment systems.

As before, Snake and his team operate of Mother Base, and the giant tanker has been rebuilt using resources Snake finds in the field. Big Boss can acquire new soldiers and items via the returning Fulton system, which basically means you can attach a balloon to anything and it'll fly to Mother Base. It works on people, cars, anti-aircraft guns, even goats. Yes, goats can become members of Diamond Dogs.

The first publicly available taste of MGS5 is already available and... so far so good. As detailed in our , Snake plays better than he's ever played before, with everything from combat animations to moment-to-moment movement feeling more realistic when exploring Camp Omega. The game also delivers on its promise of taking the previously linear Metal Gear series and transitioning it into a more open-world, player-decision driven progression path. And though there isn't much by way of story here, Ground Zeroes' narrative treads the same thought-provoking ground you'd expect from a Kojima game.

Plus the game sets up a ton of plot points that Phantom Pain will no doubt explore. You learn the fates of Peace Walker characters Paz and Chico, you meet the despicable villain Skull Face, and you witness the attack on Mother Base that puts Snake in his lengthy coma. This is all essential info for Phantom Pain, plus it gives you ample time to adapt to the new controls.

When the star of 24 was confirmed to be the new lead in MGS, director Hideo Kojima had this to say about Kiefer Sutherland as Big Boss: "I wanted Snake to have a more subdued performance expressed through facial movements and tone of voice rather than words," Kojima said. "The game takes place in 1984, when Snake is 49 years old; therefore, we needed someone who could genuinely convey both the facial and vocal qualities of a man in his late 40s."

Sutherland will not only lend his vocal talents to our favorite spy, but also his movements as well--Snake's animations will be modeled after motion captured data. "It's an honor to be able to play this character," Sutherland said. "This character has an unbelievable legacy, but there's a real personal quality to this character that I've connected to. I'm not a gamer and I even knew about this game. I was certainly keenly aware of the legacy of these games." For fans of David Hayter's portrayal, you can hold out hope that Hayter still technically remains the voice of Solid Snake.

Yeah, we've heard this before. Hideo Kojima is claiming that Metal Gear Solid V is his last Metal Gear game, and that he'll pass the franchise off to his staff after this one. Before you get too worried, you should remember that he said literally the same thing when Metal Gear Solid 4 was announced. Kojima saying he's making his last MGS game is like The Rolling Stones saying they're on their last tour.

Kojima claimed that the reason he's making it at all is because he wants to reinvent the series before he leaves. That's why it's Metal Gear Solid V instead of 5 (V is for "Victory," in his mind), and that's why he's leaving David Hayter in the past. But will he really go to all the work of redefining Snake only to abandon him?

We still don't know everything, though. Can you... ever know everything about Metal Gear? What do you think? Let us know in the comments what you think about Metal Gear Solid 5: The Phantom Pain.

And if you're looking for more, check out .

The dark side of Steam refunds - unethical abuse or consumer choice?

Added: 08.06.2015 17:16 | 3 views | 0 comments


Dealspwn: "As much as we love and respect developers of all sizes, we don't write for their benefit. We write for you, gamers, in an effort to inform you about games and just as importantly to save you money. As such, I can't help but feel that I should be encouraging you to partake in this practice. If you can complete a game and then get your money back, with no real effort and technically not abusing a system that has been established with no qualification as to why you should get a refund in the first place, I'm not sure how unethical it really is. In gaming terms, it's an exploit, not a hack. After all, you don't have to get your money back if you feel the game deserves it, and more to the point Steam literally says that you can claim a refund "for any reason." Any reason. As such, "because I can" seems to be... fair enough? Except, of course, that it isn't. Though I'm conflicted and the devil on my shoulder is telling me to encourage you to game the system, my conscience...

From: n4g.com

FTC Updates Gaming Disclosure Guidelines

Added: 06.06.2015 11:16 | 3 views | 0 comments


It appears that effort has finally paid off, as the FTC has updated its endorsement guidelines in ways that directly address the concerns raised by gamers. The endorsement guidelines are essentially the rules governing proper disclosure in regards to product reviews and advertisements, particularly when it comes to the Internet. Though they dont have the direct force of law, practices inconsistent with the Guides may result in law enforcement actions for violations of the FTC Act.

Tags: Gaming, Though
From: n4g.com

You can use old portals with the new Skylanders SuperChargers game

Added: 05.06.2015 10:16 | 7 views | 0 comments


For the first time in years, players don't have to buy a new portal to play the new Skylanders game releasing this September. Though there will be a new Portal of Power with Skylanders SuperChargers, it's possible to use portals from Giants, Swap Force and Trap Team with a digital version of the game. Using a digital version will work similar to last year's tablet editions, giving players 'instant' access to new characters Hot Streak and Spitfire within the game so they can explore its new features. Digital and physical editions are otherwise identical, according to developer Vicarious Visions, with all other figures old and new readily supported. "You can make the single downloadable purchase and pay with your existing portal and your existing collection," president and co-founder Guha Bala told Digital Spy. "We've figured out new technical ways of going further backward than Swap Force. If we go back to Giants, the technology changes substantially from Spyro's Adven...

From: n4g.com

Sym Review

Added: 04.06.2015 22:23 | 8 views | 0 comments


Metaphor serves not only as one of the most used concepts in just about every medium imaginable, but also as the basis for entire works of art. Whole paintings are often metaphors for the artist's feelings or background, and movies can link chains of symbolism together to represent some more abstract concepts. Games can go further by inviting the player into the metaphor itself through interactivity, conveying difficult real-world problems like illness and societal inequalities. The trick to creating an effective metaphor as a game is to be subtle enough with your themes so they don't overwhelm the playing experience itself while simultaneously ensuring that the game still communicates the themes clearly. Sym, a platformer inspired by social anxiety, fails on both counts, leaving us with a clumsy, confusing experience whose bright spots are muted by rough design and heavy-handed themes.

Boiling down what Sym is about is simple: You play as a person trying to escape the prying eyes of other people by escaping into a world where they can't follow you, one where you can be alone. This is reflected in your experiences by your ability to sink into the floor and emerge upside-down on the other side. Suddenly, what were once solid platforms become empty space to move through, and vice-versa. Occasionally, you run into switches that cause blocks to appear and disappear in patterns marked with arrows, and, of course, you have to avoid enemies and hazards. However, most of the game's identity lies in its dual nature, forcing you to think about how far you need to progress before you have to switch orientation. Mapping out the correct path to the end is the most engrossing part of the game.

The words and phrases that litter levels can be a bit much.

Sym's mechanics falter when they're put to the test, however. The floaty jumping mechanics don't match up well with the frequent pinpoint platforming you're required to do. It's pretty difficult to land on a patch of safe ground only as wide as you are with the amount of control the jump physics allow, and not in a good way. Compounding matters is your character's hitbox, which extends past your actual body ever so slightly. You'll die by drawing too near a saw blade without ever actually touching it. And then there are narrow shafts you have to fall into at just the right angle or else get stuck awkwardly along the edge. The levels themselves are interesting thanks to good use of the orientation switching mechanic, but that's the only bit that works as advertised. These issues are small, but they add up, sucking away the promising potential Sym initially displays.

But its biggest failing is in how it fails to convey anything meaningful about its inspiration from social anxiety. You can see the obvious starting point for the extended metaphor in the central mechanic. Sinking into the floor is synonymous with hiding from the world's prying eyes as they try to drag you out into the light and consume you. What developer Atrax Games is going for here is pretty clear because of the game's very literal interpretation of these platitudes. The first set of levels features giant eyeballs that stare at you without trying to hurt you. In these levels, only environmental hazards, like sawblades and pitfalls, can harm you. Later stages have actual enemies that will kill you, like carnivorous plants that spontaneously grow out of seeds you see on the ground or hungry beasts that pace back and forth looking for a meal. Even the people you meet later on prove to be foes, pulling you out of your hiding place in the ground as you dissolve in a fit of social paralysis. It's all very on-the-nose, but you can see a vague character progression as fears intensify and you careen towards either finding friends amidst your anxiety or hiding away forever.

Arrows sometimes serve as a loose guide, but also indicates where moving platforms appear.

Though the game practically screams its inspiration at you, it has nothing coherent to say about social anxiety. The levels feature the aforementioned allusions to a hazardous world you must hide from, but everything else is muddled. The levels themselves rarely tell any sort of story on their own. Instead, anguished phrases are used to fill in the gaps where the game's thematic design drops the ball. But these also confuse any thematic ties the game manages to establish by reading like a moody high school student's musings scrawled in the margins of a notebook. That in itself is a cool idea, and it goes with the pencil-inspired graphics. But they don't reveal anything or lead the themes anywhere except to depict anguish for anguish's sake. Until the game splits off briefly into two different sets of final levels, the messages convey the same depth of pain and panic throughout. In fact, they sometimes border on incoherent ramblings not dissimilar to the stereotypically exaggerated dialogue you'd hear from a schizophrenic person on an episode of Law and Order, which matches poorly with the meager thematic progression the levels suggest. It's confusing, distracting, and occasionally insulting to those who suffer from social anxiety.

The few themes that do come through loud and clear--hiding from social situations, the fear and consequences of being caught in one, and the eventual message that finding and sharing the connections and burdens between people is the beginning of the answer--all would make a fine foundation for a game like Sym if they were handled with more subtlety. Likewise, the erratic writing plastered everywhere contributes very little, actively obscuring any sense of progression the themes try to develop. Even when divorced from its themes, Sym manages to be mildly entertaining but just shy of a competent game thanks to the many small yet significant design flaws you have to work through. Most disappointing, though, is that Sym manages to successfully convey nothing enlightening, moving, informative, or even coherent about social anxiety. Hiding may be a central mechanic in Sym, but obscuring your meaning to this baffling degree is never the answer.

From: www.gamespot.com

Sym Review

Added: 04.06.2015 22:23 | 1 views | 0 comments


Metaphor serves not only as one of the most used concepts in just about every medium imaginable, but also as the basis for entire works of art. Whole paintings are often metaphors for the artist's feelings or background, and movies can link chains of symbolism together to represent some more abstract concepts. Games can go further by inviting the player into the metaphor itself through interactivity, conveying difficult real-world problems like illness and societal inequalities. The trick to creating an effective metaphor as a game is to be subtle enough with your themes so they don't overwhelm the playing experience itself while simultaneously ensuring that the game still communicates the themes clearly. Sym, a platformer inspired by social anxiety, fails on both counts, leaving us with a clumsy, confusing experience whose bright spots are muted by rough design and heavy-handed themes.

Boiling down what Sym is about is simple: You play as a person trying to escape the prying eyes of other people by escaping into a world where they can't follow you, one where you can be alone. This is reflected in your experiences by your ability to sink into the floor and emerge upside-down on the other side. Suddenly, what were once solid platforms become empty space to move through, and vice-versa. Occasionally, you run into switches that cause blocks to appear and disappear in patterns marked with arrows, and, of course, you have to avoid enemies and hazards. However, most of the game's identity lies in its dual nature, forcing you to think about how far you need to progress before you have to switch orientation. Mapping out the correct path to the end is the most engrossing part of the game.

The words and phrases that litter levels can be a bit much.

Sym's mechanics falter when they're put to the test, however. The floaty jumping mechanics don't match up well with the frequent pinpoint platforming you're required to do. It's pretty difficult to land on a patch of safe ground only as wide as you are with the amount of control the jump physics allow, and not in a good way. Compounding matters is your character's hitbox, which extends past your actual body ever so slightly. You'll die by drawing too near a saw blade without ever actually touching it. And then there are narrow shafts you have to fall into at just the right angle or else get stuck awkwardly along the edge. The levels themselves are interesting thanks to good use of the orientation switching mechanic, but that's the only bit that works as advertised. These issues are small, but they add up, sucking away the promising potential Sym initially displays.

But its biggest failing is in how it fails to convey anything meaningful about its inspiration from social anxiety. You can see the obvious starting point for the extended metaphor in the central mechanic. Sinking into the floor is synonymous with hiding from the world's prying eyes as they try to drag you out into the light and consume you. What developer Atrax Games is going for here is pretty clear because of the game's very literal interpretation of these platitudes. The first set of levels features giant eyeballs that stare at you without trying to hurt you. In these levels, only environmental hazards, like sawblades and pitfalls, can harm you. Later stages have actual enemies that will kill you, like carnivorous plants that spontaneously grow out of seeds you see on the ground or hungry beasts that pace back and forth looking for a meal. Even the people you meet later on prove to be foes, pulling you out of your hiding place in the ground as you dissolve in a fit of social paralysis. It's all very on-the-nose, but you can see a vague character progression as fears intensify and you careen towards either finding friends amidst your anxiety or hiding away forever.

Arrows sometimes serve as a loose guide, but also indicates where moving platforms appear.

Though the game practically screams its inspiration at you, it has nothing coherent to say about social anxiety. The levels feature the aforementioned allusions to a hazardous world you must hide from, but everything else is muddled. The levels themselves rarely tell any sort of story on their own. Instead, anguished phrases are used to fill in the gaps where the game's thematic design drops the ball. But these also confuse any thematic ties the game manages to establish by reading like a moody high school student's musings scrawled in the margins of a notebook. That in itself is a cool idea, and it goes with the pencil-inspired graphics. But they don't reveal anything or lead the themes anywhere except to depict anguish for anguish's sake. Until the game splits off briefly into two different sets of final levels, the messages convey the same depth of pain and panic throughout. In fact, they sometimes border on incoherent ramblings not dissimilar to the stereotypically exaggerated dialogue you'd hear from a schizophrenic person on an episode of Law and Order, which matches poorly with the meager thematic progression the levels suggest. It's confusing, distracting, and occasionally insulting to those who suffer from social anxiety.

The few themes that do come through loud and clear--hiding from social situations, the fear and consequences of being caught in one, and the eventual message that finding and sharing the connections and burdens between people is the beginning of the answer--all would make a fine foundation for a game like Sym if they were handled with more subtlety. Likewise, the erratic writing plastered everywhere contributes very little, actively obscuring any sense of progression the themes try to develop. Even when divorced from its themes, Sym manages to be mildly entertaining but just shy of a competent game thanks to the many small yet significant design flaws you have to work through. Most disappointing, though, is that Sym manages to successfully convey nothing enlightening, moving, informative, or even coherent about social anxiety. Hiding may be a central mechanic in Sym, but obscuring your meaning to this baffling degree is never the answer.

From: www.gamespot.com


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