Разработчик: Variable State
Описание
В роли начинающего агента ФБР Анны Тарвер вы попытаетесь разыскать пропавшего мальчика.
1992 год. Джордж Буш-ст. и Борис Ельцин объявляют о конце Холодной войны. В Барселоне идет Олимпиада.
... а в это время из своей спальни в городке Кингдом, штат Вирджиния, пропадает Лукас Фэйрфакс.
Virginia — триллер от первого лица про маленький городок со скелетом в шкафу.
В роли начинающего агента ФБР Анны Тарвер вы попытаетесь разыскать пропавшего мальчика.
Вместе с опытным агентом Марией Гальперин вы отправитесь в городок Кингдом в округе Бёрджесс, Вирджиния, где бесследно пропал мальчик.
Скоро Анна столкнется с конфликтом интересов, выяснит мотивы участников и узнает, что жители городка не любят непрошеных любопытных гостей.
В ходе всё более мрачного расследования, когда в растущий список подозреваемых войдут самые разные люди, вы будете принимать решения, которые навсегда изменят судьбу Анны и агента Гальперин.
Особенности
• Кинематографичный стиль повествования с полным погружением в историю• Похожее на сон путешествие с неожиданными сюжетными поворотами и необычными запоминающимися персонажами
• Завораживающий саундтрек от композитора Линдона Холланда (Lyndon Holland), записанный Пражским филармоническим оркестром на знаменитой студии Smecky Studio («Шоссе в никуда», «Малхолланд Драйв»)
• Детективная нуар-история в духе «Твин Пикс», «Фарго» и «Настоящего детектива»
• Уникальный графический стиль оживляет волшебный мир одноэтажной Америки и переносит вас в штат Вирджиния.
Поддерживаемые языки: english, french, italian, german, spanish - spain, danish, japanese, korean, norwegian, portuguese - brazil, russian, simplified chinese, swedish
Системные требования
Windows
- ОС *: Windows 7 and higher, 32-bit or 64 bit
- Процессор: AMD Phenom II X4 940 or Intel Pentium G4400
- Оперативная память: 2 GB ОЗУ
- Видеокарта: Radeon R7 250 or GeForce GTX 650, 1GB VRAM
- DirectX: версии 11
- Место на диске: 5 GB
- ОС: Windows 10 64-bit
- Процессор: AMD FX-6300 or Intel Core 15-2300
- Оперативная память: 2 GB ОЗУ
- Видеокарта: Radeon HD 7870 or GTX 660, 2GB VRAM
- DirectX: версии 11
- Место на диске: 5 GB
Mac
- ОС: OS X Mountain Lion
- Процессор: Intel 2.0 Ghz
- Оперативная память: 4 GB ОЗУ
- Место на диске: 5 GB
- ОС: Os X El Capitan
- Процессор: Intel 2.5 Ghz
- Оперативная память: 8 GB ОЗУ
- Место на диске: 5 GB
Отзывы пользователей
I'll give this game a positive review in lieu of a neutral option.
Well, I guess this game is certainly art, although I'm not sure if that's a good thing. It's interesting-ish, and the scenic drives through Virginia are nice, but what the hell is going on? Pretty hard to know because there's no dialogue ever. It's hard to tell a story this complex without dialogue, and I'm not sure the game was designed well enough to do that. It's easy enough to follow the basic storyline, but there's all sorts of weird stuff that never gets explained, and then I'm just left in some sort of confused dissatisfaction but also it was kind of interesting? I'm not fully sure what I think about this game.
And then, the other huge problem with this game is that it's effectively not a game. It's a movie. No, I'm not one of those whiners who doesn't understand the interactive fiction genre. I mean there's virtually no interactivity in the game. Your objective is unclear at pretty much all times, so the extent of the gameplay is wandering through the scene to find the one interactable object, I guess. There are a handful of non-essential interactions that may later result in an "artistically" vague achievement but certainly don't change anything in the story.
But, eh, the game's okay. Just don't go in with big expectations, I guess.
No one speaks during the entire runtime of Virginia. All you have to go off of is a scant few documents and whatever else you can pick up along the way. It's fitting then, that the only choice in front of you is where you look.... when the game grants you that much control as you're never far from having even that little bit yanked out of your hands, either by a traditional cinematic moment or one of the many smash cuts you'll be flung between.
The story's told from behind Agent Anne Tarver's eyes and you won't be changing her course from there. This also means a significant amount of headbob and a good chance of motion sickness. But, after changing a couple of visual settings and escaping the especially egregious intro, I was able to make it to the ending without too much discomfort.
And what an ending it was! Virginia isn't particularly concerned with what's real or what really happened, much less spelling it all out for you. Three times through and I still have no idea whether the last bit was showing two divergent sets of possible outcomes, a series of hallucinations, or if it all fit together in one unified timeline somehow. But, as frustrating as being dragged along half-blindfolded is, I do feel like I got more out of knowing less. I might not be able to give you a coherent plot summary, but I feel connected to each of these characters despite spending a little under two hours with the lot of them and never hearing a single one of their voices.
I haven't seen Fargo, Twin Peaks, or anything by David Lynch, but that shouldn't be required viewing to understand this game.
The narrative completely derails in the second half, in a way that loses the viewer. Why do I care about the protagonist's story? Why do I care about her actions? I missed the racist subtext that another review highlighted during my playthrough, but the player should be have a reason to care regardless whether or not it flies over one's head. Since it's presented with a minimalist aesthetic, there's a lot of blank spaces in the picture that would otherwise be used by a good film or game to flesh out the world that the viewer/player is presented with. I have little idea why some things happen in this game because their symbolism has not been properly established beforehand, so I'm left speculating instead (and not in the good way).
The game's format works against it here. I can accept linear gameplay, but when combined with the lack of dialogue and minimalist aesthetic, meant that the game doesn't really engage the viewer at all. Walking simulators rely solely on the strength of their stories to engage the viewer, but instead, I was bored between Virginia's muddled story and the almost nonexistent gameplay. Achievements aren't enough to make me care to revisit it after the credits rolled, either.
Go watch Fargo (both the movie and the TV series) instead. Perhaps it will be more interesting.
so many thoughts and feelings i have about this game, but ultimately i recommend it. that being said though it really is not everyones cup of tea. some people will find this a boring slog to get through others will find this to be quite entertaining and sentimental, it ultimately just depends on the individual though. personally i actually really enjoyed this, even though i admit that the storytelling is vauge at best and alot of it is reliant on the player having to make their own conclusions of what it all meant. although there is a pretty obvious theme/moral about i guess workplace corruption and backstabbing and what that can do to an individual but that is my own personal take on it.
there is also some magical realism in this game, that i honestly really enjoyed alot, seeing all those fantastical elements, idk call me a sucker but i always like any form of media that has that.
but yeah this game has its flaws too, like is it a game? is it a movie? can it be really called a game if all you do is just press a button and basically just watch a movie play out. regardless whatever, i enjoyed my time with it.
This can barely be called a video game. Just watch a movie instead.
Virginia is a good narrative game where you play as a FBI agent and have to investigate on a missing person case and your partner. The designs are beautiful and the soundtrack is just amazing. the game could have been perfect if the characters could talk. The story is so interesting that I couldn't stop playing until I knew the ending. I highly recommend it!!! 🪶❤️
If David Lynch made a video game but was more normcore.
Whoever made this game watched too much David Lynch and forgot to actually make a game.
It’s okay. Story telling is slow. Could be better, could be worse.
Incredible 2-hour movie with, in my opinion, one of the best pieces of music in the games that tells a story without even one dialogue.
A weird, Twin Peaks-esque, pseudo-walking sim with a beautiful score. The gameplay is incredibly linear even if the story isn't, so be warned.
👍
I cannot recommend this game. I first played it back in 2020, I believe, and I only picked it up again to polish off the remaining achievements so I could put it to bed for good. When I first played it, I was, naturally, lured in by the promise of a Twin Peaks-esque narrative with a heavily cinematic experience. What I expected was a great story, the element of choice, and dialogue. I love a good walking simulator, and I thought that, at the very least, the game would deliver on that. Unfortunately, I was mistaken on all counts. While the story is somewhat compelling, the medium by which it is delivered in inherently flawed. There is only so much storytelling you can do without a shred of dialogue and barely expressive character models. There is almost nothing to read--even less if you are simply going through the motions without attempts at exploring--and the narrative completely unravels towards the second half.
I understand what they were going for, and I think the game had great potential that just wasn't fully realized. As I said, the story is compelling, even in its limited scope, and if it could have fully fleshed out, I think it would have been a great thriller. Unfortunately, much gets lost in the fray. I still don't know what really happened to Lucas Fairfax. I still don't know what actually happened and what didn't, what's metaphorical and what is supposed to be taken literally. (I love magical realism, but you can't insert it over halfway through the narrative and expect people to catch on.) I have a better sense of what went down between Maria and Anne, and that part of the story is good. It's understated but obvious enough that the people being targeted by the internal investigations are all POC and women. It's apparent that the internal struggle is about minorities who dared encroach on--and succeed in--a space of power previously, and still, dominated by white men, and not just the FBI. Local government, the church, the military, local police...it's all there.
The game's narrative problem was due almost exclusively to the stylistic constraints the devs placed on themselves. The other part was that, while highly metaphorical, a lot of the metaphors just don't quite land, being either heavy-handed or impossibly vague. (Okay, yes, the cardinal and the buffalo are state animals of Virginia, but neither are used in a way that I, as an American citizen, find parsable in our cultural lexicon or iconography.) The cinematic elements of the game are interesting, but they further add to the pallor of confusion, or frustration, the player often wears. Jump cuts out of nowhere leave me disoriented, but are eventually seen as a blessing because I don't have to walk that same path over and over in its entirety.
Even worse are the abysmal achievements that add nothing to the game, including and especially the ones that require playing through the entirety of the game more than once without stopping. The level of interactivity is barely above zero, so forcing me to essentially watch a two-hour movie, one that I don't even like, possibly three or more times (if I was stupid and missed collecting something or an achievement didn't pop when expected) but also be just mentally engaged with it enough to make my character walk mind-numbingly slow and press a single button in near-silence (narrative silence, not literal silence) for two hours is...torture.
I'll end on this. This game doesn't not deserve to be hailed with the likes of masterpieces like What Remains Of Edith Finch, nor does it really belong with flawed but endearing titles like Firewatch or Gone Home. They are games, through and through. This is something that I believed failed to be a movie and thus attempted to become a game, and it did not succeed in that either. It has the fuzzy lines and brittle bones of something that could have become what it hails to be, a Lynchian crime thriller, but the substance and form are lacking. The music is truly lovely, and the art style is enjoyable, but they cannot overcome the inherent, self-imposed problems with what could have been a solid narrative.
This is an interesting effort, but it doesn't quite come together. It doesn't have a strong enough narrative to make up for the barely existent gameplay, and the gameplay is so sparse that it can't overcome the weakness of the narrative.
There is no dialogue. Not only no voice acting, but no dialogue, period. For a story-driven game about personal interactions, that is a Hell of a self-imposed challenge. And this game doesn't pull it off. The graphics don't provide the level of facial expression and body language necessary.
I played it, I finished it, and I don't know what happened. Not in the good mindscrew way, but more like "Sure... whatever." It's too bad, because it could have been a very cool experience.
Understand that it's more of a movie than a video game and that it's SUPPOSED to be confusing. If you like Twin Peaks you might like this. I know some people don't understand the mood the style is trying to create and find it boring and disjointed, but I really liked this. Very dream-like, surreal, and metaphorical.
Amazing, story drive walking simulator. Very twin peaks. Loved the plot was engaging!
Дополнительная информация
| Разработчик | Variable State |
| Платформы | Windows, Mac |
| Ограничение возраста | Нет |
| Дата релиза | 28.01.2025 |
| Metacritic | 74 |
| Отзывы пользователей | 61% положительных (1151) |