Where OST? (ooga booga!) - edit, found it, only on Spotify tho... - More seriously, It was an awesome experience, can't wait to see what you guys will produce next! :)
that's because it was mid and most people who were fans of Limbo and Inside were massively eager to play this game, only to be let down by awful game play, awful controls, a release where keyboard initially didn't work, fiddly and unnecessary 3D implementation and boring puzzles.
Hey does anyone know what the song in this trailer is called? it doesn’t appear in the game so I assume that it was licensed by the developer for the trailer.
Modern games are frequently praised for their gargantuan content, their graphics and their long durations, three criteria which seem to define what a good video game product is. But do we congratulate originality? Unfortunately no, and that is entirely regrettable. Because starting a game of Somerville means having the assurance of diving into an unclassifiable and truly fascinating experience. Somerville does not deny its affiliation with the brilliant atmospheric puzzle-platformers (whose co-creator is a pioneer in the field, let's not forget), "Inside" in the lead, but it is essentially a matter of small scattered elements ( particularly aesthetic, as well as the perfectly mastered use of the Unity engine) paying homage to it. In fact, the incredible interactive SF story in which we actively participate is not a platform game. In order to progress, reflection is required. The settings with their disturbing devastated beauty integrate subtle visual cues, an effective process which allows the player not to wander without reason, and which in practice trusts his intelligence, his sense of observation, and rewards said faculties as he must. As for the narration, which a Spielberg or a Nolan would not deny, it is a little more complex to understand, and even appears deliberately nebulous, although its brilliant staging is more of a demonstration than a suggestion. A second part will not be too much to unravel the entire plot. No matter; a concept as well put together, rhythmic, and unique as Somerville, is pure delight for a lover of the 10th art who is not frightened by the difference.
I was really hoping for this game to be good. I was severely let down. Never again will I get my hopes up for any INSIDE successor. Super disappointing.
The sound designers and graphic artists for SOMERVILLE did an incredible job. Everyone else, unfortunately…yeah. INSIDE is my favorite game ever and none of the other similar games except LIMBO have even come close to it.
Try little nightmares 2. Imo that game is superior in terms of sound design, story, graphics and everything else. As for Somerville, I think it's overhated. The game is still a 7/10 for me.
Ehh I love that game and I would definitely not go as far as saying it was 'superior' in every way. I mean, sure, the two main characters give you a lot to latch onto emotionally as a player, and they do a great job of making Six feel like a real character in the space with you, and not just an AI trailing directly behind you like some oldschool RPG. hand-holding (which they got from Ico but works great here too) was a really great, tactile mechanic for getting you to care about the other character's safety... and then combine that with the steady build of tension and dread, the just perfect pacing of those first 2/3rds of the game, and it is just SO easy to recommend to people. Absolutely worth the time and money. But man, they fumbled that ending. Not _MAJORLY,_ but it definitely didn't hit super well for me. it's not even about where they went with the story for me it's just the how. The execution. Sort of the inverse of Little Nightmares 1, in a weird way. It introduced this fantastic world and setting, but dragged a little in the beginning with weak scares/middling gameplay, but then finished extremely strong in those last couple chapters. Everything fell into place, making for the most creative, intense and genuinely scary sequences of the entire game. And it was narratively satisfying, too! But, while there's... certainly less tangible _story_ to latch onto in Inside, it manages to draw SO MUCH meaning and emotion out of the world and the themes of the kids journey, and it maintains its relentless pacing all the way to the end, culminating in a fucking stunning finish that leaves you with lots to chew on, if you want to. Plus the pacing is pretty much perfect the entire way through. Doesn't ever really falter or slow down. And-look, we all know BAD sound design when we hear it, but it's pretty hard to come up with a workable definition for truly great sound design. It's not something so easily measurable, so I won't try and compare them in that way... but I will say that literally NO other _single moment_ of sound design in a game or otherwise gives me quite the same amount of joy as listening to that _distant pulse_ RIP through the fog in that one section in Inside. Just an absolutely WICKED and confounding sonic experience. even though whatever was causing the pulse never comes up again outside of that sequence, whenever i think of the game I think about that sequence and wonder what could've done something like that? It leaves such a lasting impression on you, that to this day the sound is still so clear in my mind. idk really care about graphics, they've both got really great art direction but are shooting for different things. I know it does matter to a lot of people though. @noshgaming
@@ZedAmadeus i agree. Its definitely not about the graphics. INSIDE is just such a masterpiece I don't think little nightmares 1 or 2 are contenders. They are great games but INSIDE they are not.
@@Raddish-IS-Radd Hi. Well... it was more than 6 months ago! I don't remember in details, but I was a bit desappointed, it's a bit far-fetched in my opinion! :)
