Разработчик: Носков Сергей
Описание
Данная приключенческая история позволит Вам детально исследовать множество интересных локаций постапокалиптичной России, наполненных разнообразными деталями и секретами. По пути герою предстоит собирать припасы, еду, батарейки и оружие, разгадывать квесты и двигаться вперед по сюжету, который в зависимости от ваших действий имеет несколько разветвлений в финале.
Поддерживаемые языки: english, russian
Системные требования
Windows
- ОС *: Windows XP / 7
- Процессор: Intel Dual-Core 2.4 GHz
- Оперативная память: 3 GB ОЗУ
- Видеокарта: NVIDIA GeForce GTX 275, GeForce GT 520, GeForce 8800GT
- DirectX: версии 9.0
- Место на диске: 3 GB
- ОС *: Windows 7
- Процессор: Quad Core Processor
- Оперативная память: 4 GB ОЗУ
- Видеокарта: NVIDIA GeForce GTX 960, GeForce GTX 560
- DirectX: версии 10
- Место на диске: 3 GB
Отзывы пользователей
Super realistic and unforgiving. The amount of care you need to take to not accidentally step on mines and over trip wires in this game feels far too close to real life for me personally, but I have to say the game nails the absolute dread that I imagine you feel in these types of scenarios in reality. And one mistake can be enough to kill you off, bam boom, no more, or you might just lose 90% of your health (though you won't know because there is no HUD, I think you get blurred vision and a limp walk, but how close to death you are is a guessing game), just like in life. Therefor the careful explorations are dreaded, and the gun fights horrifying, one shot potentially killing you instantly. There was no point I ever felt safe, for what I played way back, neither from other humans, the environment nor wild life. And at one point I was seeing the silhuette of someone coming towards me from a doorway, but I couldn't make out who it was, and that was one of the most terrifying scenes in any game I ever played. I had to stop, this game is just too much and too punishing for me. A masterpiece.
симулятор ходьбы плохо симулирует ходьбу
Мне нравится, что игры этого разработчика эволюционируют. Если The Light был просто примитивным по своей сути симулятором ходьбы, то это уже симулятор ходьбы с элементами сурвайвл хоррора (хотя сам элемент "сурвайвала" тут скорее условный: дадут пару раз пострелять, не больше).
Впрочем игра берёт своей гнетущей атмосферой безысходности вымершего и опустошённого мира. Очень часто ловил вайбы какого-нибудь Метро или даже отменённой Russia 2028.
Может тут, мягко говоря, и не самая лучшая графика, но локации в массе своей выглядят вполне аутентично и их хочется исследовать.
Впрочем лучше не пробовать проходить залпом - наскучит.
P.s. Надеюсь грядущая Hail To The Rainbow от этого же разработчика не подведёт, хотя там уже есть, что исправлять.
Awesome story and execution.
This is a decent indie post-apocalyptic game that mostly consists in walking, so if that's something that sounds interesting to you, or if you like similar games, buy it on sale.
Don't expect a high quality experience though, it's very "indie".
35 mm: A ludic poetry of 400–800 ISO
A 35 mm film camera was commonly used. It is considered standard and, to a certain extent, general-purpose due to its versatility. Ironically, the name of the game seized my eye. The title already indicates something. In a glade, I comprehended the immanence of the movement. The camera captures the instant through exposures —both the game and the mechanics of photography in-game— and they're converted timeless. A photo is born in its unveil. It isn't a painting (picture, pic, icon, or merely image), but a light of what is happening there. The photos bare “the world”, “reality”, or “life” as it is: overwhelming and hurtful realism; crushing, imperfect, unexpected, and full of vertiginous surprises. The realism of this game with a camera name, whose intention is already patent in its title, isn't in the narrative or in the quality of the graphics. The realism is inscribed in the timelessness of the film itself, which creates the game.
It was an overcast day over the barren meadow, where the wind performed the leaves swarm in an aimless dance. The sun's rays strained through the gaps in the sempiternal clouds. The pale greenish trees and sward took sanctuary in the mist. Petrovich was resting, waiting for his friend to cease checking the derelict cabin. He stared at the ground. Without any other options, his comrade alleged, “The house is empty… Look around if you want”. Then Petrovich stood up and, with a pellucid stare towards the open and yawning land, started his journey with the anonymous companion.
The world of wolves
I won't do the game any justice with so few words without the benefit of analysis. I circumscribe myself, for the moment, to the form of the game in its pure general description. 35MM is a film journey of personal introspection. While the film features gameplay elements such as object interaction for survival, the player's experience is nonetheless focused on the realistic immersion within the feature film. The game-film is a personal journey, but that doesn't mean it lacks a story. Quite the contrary. There's a tension between objectivity (the plot) and subjectivity (the player's felt experience). The player sways between both opposites. Various themes and questions are encompassed in the plot so that the player participates, thinks, and feels. Therefore, the originality of 35 mm lies in its proficiency to awaken thoughts and feelings through a “film”. Hence, the name is redolent and connotative, it expresses what to look at.
The way to tell a story was preferred through photography and, in turn, film. As I mentioned earlier, the name of the game is a camera. The player can comprehend a bona fide “world” in its harshest reality. On the one hand, chapters are scenes. The sequence is woven between the whole game (what it presents us) and the possibility of the player's choice (based on their actions). Although the game is set in post-apocalyptic Russia, it narrates the story mostly through images, things, actions, and photographs, in frames moving one after the other from one instant to the next. The text has less priority, as does the dialogue. Thus, the game invites us to contemplate, and its virtues are time, slowness, and patience to behold. The game is slow (long-winded and protracted), but mature. It grows slowly, springing up with its own inner dynamism. So that the player focuses its spiritual gaze on things that it would otherwise overlook.
The script is punctilious, with eminent photography. The story is apophthegmatic and compendious, a journey into the void of meaning. The authors' voices pull off to convey the stress, au naturel, of what is befalling. The apocalyptic tone is one of revelation: the human interior. Nonetheless, the music composed by Dmitry Nikolaev and the ambient sounds create an insightful soundscape that utters a mystery of aloneness. Each part of the scene, the plot sequence, comprises many artful and esoteric references to works of art. I'm not surprised that the game's director canvassed the poetic creation of photography and image in the manner of Tarkovsky. Or the good enough karma of the Metro game. Or the narrative conceived in Dostoevsky's literature. Each scene states something in a natural, symbolic, allegorical, or metaphorical way. It isn't a visual novel either, but the visual is typified in the vividness of the photography, music, and gameplay.
The souls is lonely and empty…
The game evinces photography and, therefore, film. The act of contemplation is intrinsic, given that the world is a concatenated scene. For this reason, the character is an active participant in it. The dialogue and script are only relevant because of the photography. For example, the dialogues are succinct, contrasting the instance of the image (photography punctuates and perfects). Although, Petrovich also cogitates soundlessly and often indicates what to do (like other characters), since then, the game essays immersive realism through minimalist gameplay. Without much text, long dialogues, and indicators. Photography is adjacent to this because it fulfils three denotations: telling, making a player feel, and allowing the interaction.
Being a minimalist, the game accents the rhythm. The predominant pace is hiking. It's measured, but contemplative. This way, it prompts the player not to rush. However, the player can run but not hurry into carrying out a certain action. Even so, it's advisable to adhere to the unhurried gait, as the game has a logic of causality and consequence. If I'm not erred, if we rush, the game suffers a little breakdown or glitch. We must carry out the task through a series of steps. Furthermore, the game is only saved by scenes. Our decisions add up to the upshot, according to our hoarded karma. When restarting, we lose all kismet gotten.
In the adventure, exploration acts as an immanent role for the player. The character can interact with some objects. We feature an inventory (as a notebook), in which it records our food, batteries, medicines, key items, weapons, and a camera. The interaction, action, and decision with a person or object befit weighty to culminate in an ending. Certain interactions shine through, which means they have consequences for the plot. The notebook is daubed red when we're taking damage or dying of hunger. Look around for supplies. And —my preferred feature— the character carries a 35 mm camera. We can take snapshots. I'm not sure if the reel has a frame limit. In conclusion, the plot provides assorted paces at which the gameplay shifts (shooting, quick-time events, photography, or pure exploration). It's intuitive, meditative, and, above all, requires patience and a keen look at what's happening there.
Life is a fast line between everywhere and nowhere
The adventure is fairly introspective, at all times conjuring up feelings and thoughts about the inclement condition of the human being. The story is impeccable and complete. The conclusion is an echo of the player's inner self. Hence, the post-apocalyptic theme, despite narrating a pandemic, is rather a revelation of our true “nature”. The game projects different topics such as death, emptiness, loneliness, and evil. The ending is a dramatic twist and gradually germinated, rich in story, poetic in image. I enjoyed some scenes with suitable and sincere leitmotifs, created by Nikolaev and the musical pieces by Stravinsky, Prokofiev, or Rachmaninoff. It's a game that won't be for everyone, especially if you accept the acceleration (transparent and high quality) of the society to which we're subjected, living in a fast line between everywhere and nowhere.
Recommendation: 8/10
I wanted to like this game, and for quite a bit of it, I did.
But, after finishing it, I can't help but feel this was like an incomplete thought. While there is no real tutorial to let you know what is happening, which is sort of novel in a sense, there's also so much going on that makes no sense.
For instance, you have a camera... which plays no part in the story. Despite the name being 35mm... it's just a gimmick of sorts. Additionally, you get batteries... for what I have no idea. No clue what they're for.
The game is fairly linear too. It tries to convey a somewhat open world, but in the end... it's straight forward. Even in the end, it feels like it was sort of rushed. Almost like some producer said "wrap it up" and "I want more gunfire".
For instance, when you emerge from the tunnels into the subway, you end up fighting a bunch of bronze statues that come to life. Makes no sense at all... not one lick of sense. Again, feels like someone said "we need more shooting" and they just threw this portion together.
Even worse is when you exit that into the city portion. This is the last level, and you go around and find and find ammo, only to never use it and have your weapons stolen from you. It just seems rushed...
It's not a terrible game at all. I enjoy about 2/3 of it. Just feels like it is incomplete and leaves my OCD frustrated.
It tells the story through the eyes of a man with a camera. and all you do is take pictures while learning about what happened in the ruined world. Rally is quite the fun experience, with a novel concept of what game play can be.
Kinda Disappointing
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Кафы кафы игра, если бы открытый мир был бы вообще топ, а так просто кафы
A melancholic and reflective walk through pandemic-ravaged Russia. Reminiscent of the S.T.A.L.K.E.R. and Metro series.
Дополнительная информация
| Разработчик | Носков Сергей |
| Платформы | Windows |
| Ограничение возраста | Нет |
| Дата релиза | 26.01.2025 |
| Отзывы пользователей | 57% положительных (886) |