cloud_canvas 最近的评测

What can I say that hasn't already been said about this game? It was worth all the wait and the trials and tribulations. I love early 90s DOS shooters, but the original System Shock was always way too complicated for me to do much more than get to the second room and get attacked by a cleaning bot and get overwhelmed and close the damn thing. I really really wanted to play that game, but it just seemed too archaic to play.
Nightdive prioritized making this game be as much like the original game as it would serve a new version of itself to be, and streamlining and consolidating everything else that was just solved by better UX in shooters in the intervening 29 years since the original game. John Linneman from Digital Foundry described it perfectly when he said that it's more "refined" than "simplified." I think it's just absolutely sick from an art direction standpoint that despite not having played through the original as I mentioned, I can jump around a Let's Play of it on YouTube and pretty much anywhere they are within the game, in a few seconds I can look at the color palette and the shape design of the environments and instantly recognize where they are in the game from its 2023 equivalent. How cool is that? From the moment I started playing this game I could not put it down; it's incredibly compelling on every level.
You have no excuse not to play this game if you are into anything adjacent to it. It's fantastic.

This game makes an enjoyable but kind of mediocre impression at first, but as it builds up to its climax, all of its core movement mechanics come together and the final level is a real Disneyland ride. It wears its influences on its sleeve and the environmental/audio log-based storytelling definitely wears out its welcome, but it tells a complete story that is that perfect Portal-esque 2-4hr romp. They definitely made a deliberate decision to make the combat very easy and not very threatening, but that doesn't mean it doesn't get quite intense including the final boss battle which was really awesome. I could keep going back and forth like this but the bottom line is I think this game has some just OK parts but all in all there's a ton to really enjoy about it, especially at the end.

I loved every minute of this game and didn't want it to end. It is an absolute treasure of Heretic-style combat, beautiful colors, interesting enemy attack patterns, and labyrinthine, fractal-like level design that only gets more surreal and hypnotizing as the game progresses. Maybe one of the best games of the decade and the clear standout of the 90s shooter revival games in my opinion. I need more Amid Evil!

This game has one of the most unique and satisfying character controllers I think I've ever played. Part dirt bike, part ninja stealth, and part Pastafarian God, this game is best played with keyboard and mouse. It's the perfect length, giving you a constant cadence of power-ups. The section where it all comes together at the end is just long enough not to get tiring. The way your avatar strength modulates up and down depending on the needs of the combat puzzle in each room is really special. You never stop feeling like a badass horrifying monster, and it's hilarious every time to burst into a room and scare the ♥♥♥♥ out of everyone, mutilating half of them before they've even realized what's happened. Your amorphous sense of player position and reach is unlike any other game I've played. This is an incredibly original and valuable experience, and I highly recommend it regardless of what kind of game you're normally into.

Well, it's now April of 2024 and the game is finally out for real. I'm sad to say that the intrigue of this game takes a nosedive after the initial world that was offered in early access. The levels get even bigger and it stops being fun. I finally listened to the advice of others and turned infinite saving on, doing away with the Soul Tether system, and it made getting through the subsequent worlds much more bearable. At some point you just have to give into the conceit that this is the kind of game that is meant to be save scummed. Either have small levels with dense encounters and few saves, or have huge levels and unlimited saves. Not both.

It's hard to put my finger on why the subsequent worlds are so much less fun to go through; on the surface, they're very similar to the first world, but in practice, it just becomes a slog. It's way easier to get lost. The lack of enemy and weapon variety gets old quick. You spent a lot of time with not enough ammo. I started the game from the beginning again when I picked this up to play the 1.0 and felt the thrill of the first world come right back, I remembered all the levels and their tricks, it was extremely memorable. But the moment it turned into caves, it just got REALLY boring.

I think I'm losing interest in finishing it. There's also some jank in the level geometry that can be tricky to get out of. Maybe I'll come back to it in more distant bursts of time, but I'm bouncing off of the rest of what this game has to offer. That's a real shame. The end result is definitely "buy it on sale" territory.

---

OLD REVIEW FROM JULY 2020:

I was skeptical that the "tiered checkpointing" of this game, one of its most unique mechanics, would not be meaningful enough to come into its own as a meaningful decision, but I am pleased to say I was wrong.

There's a unique sense of weight to deciding how far back you'd like to start over from after getting clobbered by a surprise encounter. How many of your previous mistakes do you want to rewind and redo? You've found a Shrine, but do you want to use it yet? Because the level will definitely open up in a such a way later that you'll be back at this location after much progress has been perilously made, so do you want to save now or then? It's really interesting.

I find myself having a very different relationship to how often I want to try again versus put the game down and come back to it a little later... my play sessions end up being very long because of it. My Play Time total is really surprising me. Compare this to something like Doom Eternal, where I lose immediately and pretty much just get pissed and turn it off, so making progress is a chore.

I had no idea the Quake 1 engine could look this expansive. The use of primitive particle emitters is very tasteful. Just a very very refined game feel from people who clearly have intimate knowledge of the engine. It's very polished and the pacing is really varied. This might be my favorite-playing of all of the 90s FPS renaissance titles that have been coming out. I'd give Amid Evil the best level designs but the ones here are absolutely stellar as well. I really can't recommend this game enough if you're already gobbling up Dusk, Amid Evil, Ion Fury etc. like I am.

This game is just okay. I don't think id accomplished the goal of translating "push forward combat" to VR that they were looking for with this experience. I feel that Robo Recall and most importantly Superhot are much better examples of creating pandemonium all around you, and dialing down the time scale and the fluidity of that scene in order to flow better as a challenge in VR. Yes, it's building on an incredible foundation with the world of the 2016 reboot. That's what saves it from being a bad game. What they add on top leaves much to be desired, though.

They try to have their cake and eat it too by allowing totally free locomotion with both directional pushes and teleportation. The problem is, these are both on the Vive trackpad, and it doesn't respond very well to distinguishing between the generalized button push for teleportation and the directional button pushes. As a result, I never hit a flow state where I stop thinking about the controls and just feel a pure adrenaline rush during combat.

I can't speak to how it feels on WMR, but I imagine that having a thumbstick helps a lot. That would bring the movement mechanics in line with Robo Recall, where you're casting a translation arc and rotating your forward vector in one movement. I don't love that locomotion mechanic either, but it's a lot better than what they have now. Even just having the ability to yaw on the other trackpad (either in snap increments or freely) would make a big difference.

Why can't I hop backward with a down press on the trackpad all the time? Why only sometimes? Is this a literal extension of the "push forward" premise? Sometimes you really need to get your distance from a big baddie, and you can't because backing up doesn't work and teleporting isn't cooperating. Using stuff like a rocket launcher in an arena-style encounter just feels dumb when you can't move around very rapidly.

Telefragging as a replacement for glory kills could work, but the hitboxes for triggering it simply aren't big enough! They should be nice and chunky and easy to trigger. I teleported right next to an enemy or just pushed forward so many times when I meant to telefrag and it just left me frustrated and distracted rather than immersed.

The irony of this is that the number of decisions I was making per second on the 2016 reboot was much closer to what I would consider first person VR combat to be like than this clunky and slow conception of it. It's classic lineage gameplay; in one second, you'd be bunnyhopping backwards in mid-air, while throwing a grenade off to your side, lining up a sniper shot, and nudging close enough to some pickups to heal yourself. You're relying on mouse and WASD, so it's the most hardwired biological connection ever. You get to do exactly this - with precision - in Robo Recall and Superhot. Not so with Doom, of all franchises.

I imagine this plays much better while seated and swiveling around on the PSVR; the room scale staging is basically unutilized. Interacting with objects is awkward. I've grown used to using the motion controllers (be it with grips or trigger) to grab things with my hand in room scale VR. It's the most intuitive thing you could do with an object asking you to grab it.

Here, because I assume it was designed for the PlayStation Move controllers or the id devs simply haven't really kept on top of best UX practices in VR, you just kind of awkwardly point your gun at mission objectives and computer screens until it swaps over to a really weirdly raycasted laser pointer and then you just click.

It hasn't felt intuitive to me and again takes me out of the experience. Simply swapping out the gun for the hand model when I'm near a grabbable/touchable object would have done this trick, rather than awkwardly making me think about the barrel of a shotgun as a laser pointer when I need to interact with something. It's poorly executed.

Screen space UIs look and feel terrible, very unprofessional for a AAA company. They do this weird thing where they yaw to match your viewing angle, but with the baked in gradient transparency just looks like a bunch of tacky 16:9 rectangles that are world space objects, rather than an overlay. It clips through scene geometry. It's unpolished. HUDs look great, but any time I'm out at a Settings menu it's just offputting.

The story is lame. Not that it ever mattered in a Doom game, but the sheer laziness of the concept here, and the fact that they make it touch base with the 2016 game's plot, just cheapens both. I'm teleporting past Olivia's performances indifferently, whereas in the game I would have stopped and watched because it's a good performance.

Giving our protagonist a voice so he can monologue about what the next McGuffin you have to go and get gets the job done, but it's sloppy. Give me a cool diegetic gestural UI like Lone Echo; I'm a ♥♥♥♥♥♥♥ robot on Mars! Do as much 2D AR UI as you want. You could even put the objectives screen on a Menu button.

I really would have liked to see some new environments and atmospheres here. You can do this story format and still make it rad. We've all played Half Life: Opposing Force and (to a lesser extent) Blue Shift. If I heard just one little new ambient music loop by Mick Gordon put into this game, I'd be like "Okay, cool. More content. Awesome!" But instead it's more like a proof of concept for what a VR retrofit of Doom 2016 would be like.

It's nice to see id make the investment into making id Tech 6 work in VR. That is the progressive thing to do, and of course what Carmack would want were he still at the helm. Of course it's also cool to get a look at all of the beautiful modeling, texturing and material work that went into the 2016 masterpiece game up close and in 3D.

But I'm sad to say that there are other games out there that are running circles around the game feel that id Software is going for here, and it just racks up ding after ding to end up feeling kinda mediocre. It's a shame, I'm a Doom mega fan practically since birth who frothed at the mouth at the reboot.

There's a decent game hiding inside this game, it's just hampered by design decisions that come up short and a lack of new content to really get excited about.

No idea how this fares as a single player experience, but with a handful of friends, loads of Steam Workshop custom courses, and most importantly COLLISION TURNED ON, it's a real barrel of laughs. It's become the perfect steam off-blower around the office with coworkers in the evenings.

Mini-golf game-wise, it's no better or worse than any other, although the miniscule development team of 1 makes it a little rough around the edges sometimes. What makes it so interesting is the simultaneous play of all players in the multiplayer mode I mentioned, so you can be a ♥♥♥♥ and race to the hole, blasting others out of your way. That and the fact that all of the 18 holes have to be laid out on one physical course like real mini-golf means you can make all kinds of terrible shots that land in the green of another hole, which is hilarious.

It's wanting of a little visual polish, and very much looks like a basic Unreal Engine game, but man it's good fun with friends.

This is a must-get for your boilerplate VR library. I lost myself in it for a couple hours the first time I booted it up. Throw on some good tunes, and you'll find yourself getting lost in the most bizarre descriptions of what you're doing. Sometimes it's like pouring frozen yogurt into a cone. No, wait, now it's like throwing a bucket of water against a wall. Actually, it's like spinning your finger around in a glass and creating a whirlpool. This is what happens when you're dealing with a pure particle simulation and a suitably robust toolkit to manipulate it: It's crawling with implied emergent possibilities, it's endlessly rewarding of your experimentation, and it's easy to get very lost in it. Excellent.

This game is great. The difficulty curve is pretty lame, though. It plateaus very early on; any further challenge comes from not nailing the platforming in certain areas and dying 1,000 times in that one spot. But the inventiveness and pure ADHD on display here is really great. I just with there were as many crazy deaths as there were monsters!

Titan Attacks! is one of the better-presented wheel-reinventings of Space Invaders. Playing this game format with a mouse may seem counter intuitive at first, but it leads to intensely strategic enemy fire-dodging. The upgrade system moves at an satisfying (if slightly stiff and expensive) clip, and the MacSpeak computer voice doing all the voicing is cute.
I would compare this to Space Invaders Extreme for the Nintendo DS, which was Atari's own suite of variations on the classic. Enemies are rendered in almost the same way. Both are great games that get REALLY challenging very quickly.