Torment: Tides of Numenerea Game for pc, Xbox, Ps4 Review & Gameplay: Torment: Tides of Numenerea» is a monument to the past. At the same time, the game is an example of follow-up and expansion for which lost opportunities exist for dialogue-based role playing today.
It is eighteen years since the criticism “Planescape: Torment” showed us the culmination of how wide and diverse a gaming universe can be; Approximately as long as it takes to forget it for the benefit of the present and the future.
Although I was twelve years old, I usually grow up to the big industry in games like “Mass Effect” and “The Witcher” when I want a moral problematic escapade in difficult dilemmas.
However, in the history books, we can read about games such as “Planescape” and other absurd worlds back in the 70s, where the drafts for the game media – rather than physically simulated, graphically represented action adventure – were textual immersions in the game creators’ imagination; Not unlike the fascination you would like for science fiction and fantasy novels.
The step away from this type of game can be explained in two ways. It may be said that games made in bold audiovisual twists are more appealing to the mean hop than long-haired walls of text that wipe the eye wet and red after a few hours of play – even when it’s a great story to be told.
In addition, in the Aristotelian tradition, it has been for gamingmakers to create experiences with a clear connection, because the great epic form is easier to sell than a combination of incompatible absurdities. A multitude of possibilities have stood in stark contrast to the desire for a story that has a beginning, a middle part, a climatic highlight and an end.
With the “Torment,” which is a spiritual sequel to “Planescape”, it appears that the two can unite today too, at the expense of the audiovisual demand of the new-fashioned.
A crank of beautiful twists
“Torment” looks like confusion on its predecessor. The game takes place in a dark universe where different realities of “Rick and Morty” collide with regular time intervals.
The player wakes up like a kind of newborn, unidentified adult woman or man whose consciousness has arisen in an empty body thrown aside (after use) by an immortal idiot. Then you go around the universe and throw into different adventures and meet companions on the road.
Almost all interaction with other roles begins with dialogue, and is by far the most interesting when they remain dialogue instead of escalating to fighting. Five hours in the game, I have not yet crushed a hair on another being or uves.
When the game lends itself heavily to text, it is a pleasure that the text itself is well written in many parties, and quite mediocre in others. The text can also be long-lasting until you understand that it’s the text, not the “physical” aspects of the game that are the very joys of playing.
Long, steep, heaviest walls of words and sentences are both medium to sensory observations of characters, environment and action. Even visual descriptions of the game’s personal gallery, how they behave and what they smell are reproduced in literary passages, while the figures themselves are represented by stakato low polygon figures on the screen.
The winnings with this will be the vast amount of information and depiction that benefits the player. Because I read a book in a way, I read as I read a book and agree to read rather than wait to run around and jump and hit. After a short period of time, I am living with vast amounts of knowledge of the universe I interact with, without being conveyed in a factual case, like in a book in shelf in «Skyrim».
Still a game
“Torment” does much of what most dialog-based role-playing games try or claim to do. The unimaginable amount of little stories, with all its surprising shots-truce-moments-moments, intertwine in a large, intricate network that often paves the way through the game in its consequences.
We are rusted – as in other role-playing games – both in dialogue and in struggle with statistics that will affect the outcome of all that happens and upgraded with items and experience points. These work a little differently from most role-playing games because values such as might , speed and intellect are consumed sizes that are not recharged before sleeping. For example, a fight might be bad if the party’s magician has used all his intellect in the initial war.
What does “Torment”, ie its history and its possibilities, the more interesting, is what happens when something happens that should not happen. For example, if you lose a fight or blow a job in another way, there is no need to upload an old storage file.
Defeat has consequences in history, often as interesting, or even fatter than if one were to succeed. Even the most affixed page assignments get an extra dimension in the expectation of an untrue consequence, because I know that opportunities are always more than two and that the consequences can manifest anywhere in the universe.
Defeat is – rather than retarded – something that carry on with the journey and which affects what will happen in the next sequence, or far ahead in time.
A thought dry
Much of the actions of “Torment” takes place in the minds of the hero, in interaction with the memories of their own and others, ghosts, visions and other metaphysical things. The theme of much of what is being spoken, and thus also what is happening, is implicitly meaning quite interesting issues of motives such as nature of nature, memories (what are really memories and how reliable they are) or about individuals personality traits: Can a person define an action it is practicing or is it reversed?
Many conversations are regular deep discussions about the meaning of life, the necessity of the perception of a unified ‘I’ and how these two are in relation to each other. The theme of discussions and interactions takes place as mentioned in a multidimensional reality, and throughout the game we move across the whole range from religiously inspired fantasy logic and hallucinatory nightmares to secular, western everyday philosophy.
The game also reflects on action, not just over life, but over itself; In smart metaphysics about fighting for fighting in games, versus not fighting, for example in one of the key stories about a war called “The Endless Battle”.
Intellectual verbal clout aside, there is a lack of “Torment” that I never quite feel theconsequences of all the fine and bad things that happen.
Rollefigurene snakker om sjela og evigheten, om den personlig definerende kulturarven de har eller ikke har fra foreldre og hva det gjør med dem i hverdagen. Likevel setter jeg aldri gråten i halsen av «Torment».
Selv om temaene er interessante, er personlighetene som motiverer dem tynne typer, tross i mangfoldigheten som oppstår i krysningspunktet av vesensforskjellige dimensjoner og virkeligheter. Heller enn å bli lei meg når en av dem dør, eller glad når jeg redder et barneliv, sitter jeg stort sett igjen med et rynket bryn over hva det hele betyr, eller et smil om munnen over en eller annen morsomhet.
“Torment” is not a game for everyone but a game I would recommend to everyone and sneak them in the face when they do not bother to play it. The game stands for my eye like the story that would raise games like “Mass Effect” to new heights, but without all the moments that make “Mass Effect” fun.
The game is chopped better than current genres such as “Tyranny”, which I reported about a month ago, and worse than an interactive novel of ten thousand million pages would be if it had existed. In other words, “Torment” is one of the better games I’ve been playing for a long time, something I’ll keep playing for a long time to come.