- karma portal traveller
- Posts: 5624
- Joined: 03 Dec 2012 17:56
- Location: 966 - Quiet Rooms - WiQ
But I can't edit my current one thanks to Error Oversize Image and the lack of Horizontal Scroll Bar to reach the Edit Button.
Edit: I was going to say that was a very Cool photo Lord, thanks for sharing.
Let's go there and find entrance to chambers!
Long time no see you here, Post!
hey, Post! How are you?
btw, answering on your question:
http://pastelland.com/forum/viewtopic.p ... 125#p73125
PCG is still alive. Wanna join?:D
For the first time since the lab, we return to a straight-to-the point opening with no cut-scenes or warmup gameplay. Instead, the player is given a quick and optional synopsis of the plot: By interacting with the lab teleporter, the machine breaks down completely, unable to be fixed, meaning the player is unwillingly stuck in this location. The goal becomes to try and escape the chambers.
While the game does have an initial and easy tutorial puzzle, what makes this entry unique from the get-go is the sheer abundance of keys compared to locks. Before encountering the first lock the player can pick up five different keys and only use one, and the abundance of keys only rises throughout the play-through. This is because the final three locks in this game need a total of 16 keys to be solved. Out of the three main objective keys, the jade pieces are the easiest to find, and the most plentiful. The season plates are slightly trickier to find in comparison. The topaz pieces are the most hidden keys, demanding the player to search the environment carefully to find them (I'm looking at you, mr. vaguely loose plank board...). Abundance of these multi key locks is something which we will see reappear in Submachine 7 and 8.
Interestingly, locks only overlap the same horizontal line two times, meaning there are only two instances of path choice in this game (still twice as much as the edge offers though). Both involve obtaining a topaz piece, meaning the player can focus solely on reaching the main objective and return for the topazes if they desire. There are also two instances of necessary backtracking as seen by the two long vertical lines on the graph. Since 16 keys don't find a use until the very end of the game, it is possible to miss a lot of them before reaching the main objective. This means the player will likely have to go back to earlier areas to find the last keys (especially topazes).
Designing the graph this way makes for a game with a lot of momentum and progression initially, but gradually slows down as the locks become more demanding. The final lock demands that the player has searched the game thoroughly and found all the 16 keys to reset the Mayan calendar. This marks a shift in the game's atmosphere from exploration to investigation. How long the investigation phase lasts depends on the skill of the player. In the scenario where the player retrieves all the keys before finding the calendar, there is no investigation phase.
Completing the calendar delays the end of the world by a couple of thousand years. Somewhat worthwhile. I suppose. I don't think the player ever escapes the tomb though...
Tune in tomorrow for the dungeon graph breakdown of Submachine 7: The Core