![]() ![]() There’s no voice lines in the game and it basically refuses to explain itself at any point. Nearly every tool in your arsenal serves dual purpose, often to play their part in solving some of Scorn’s incredibly difficult puzzles.īetter yet, Scorn revels in that weirdness. You’ll also interact with most consoles by inserting something into them, whether it’s your augmented hands or the weird piston jackhammer you’re given at the start of the game. Nearly everything looks like sexual organs or damaged bodies, and towards the end of the game there are several statues that are, well, erotic. There’s something distinctly grim about several elements of the game. ![]() Haunting moments like this are the best Scorn gets. Towards the middle of the game you’ll find yourself standing on a balcony looking out over a foggy expanse while something groans in the distance. Scorn threads together body horror, Giger-esque biopunk, piles of corpses and meaty grossness into a cohesive world, and it really does look like nothing else. Most of Scorn has you strolling around dark corridors that glisten and undulate, assailed by a series of creatures that are on a scale, sitting somewhere between a sentient cocktail sausage and a wet bit of intestine. Giger, it’s well realised and looks the part. ![]() While it owes a lot of its biomechanical ick to Swiss artist H.R. Simply put, Scorn is unlike anything I’ve ever played, eschewing a lot of the mechanical and narrative tropes of the medium to create something fascinating that spends a lot of time getting in the way of players enjoying the gorgeous world of Scorn. This sort-of escort quest made sense to my video game sensibilities, but the further I got from egg friend’s gaze, the less sense everything made and the further into the nonsensical Scorn ventured.
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