You no longer have to worry about the oil in your lantern, there are no tinderboxes to collect, and no cupboards to hide in or doors to barricade. What’s obvious from A Machine For Pigs is that The Chinese Room like to keep things simple – too simple really especially for a sequel to an established game, as it means removing a large number of existing features.
But in a video game that’s a problem, because it means that much of the actual act of playing the game isn’t as much fun as it could be.Īmnesia: A Machine For Pigs (PC) – great, more valve turningĭear Esther isn’t known for its interactivity but we always assumed that was a stylistic choice made purely for that game. Rather than just vague questions about who you are and what you’re doing the story ends up exploring the nature of love and empathy.Ĭomparing the intent of the two games The Dark Descent is all about the journey, while A Machine For Pigs excels more at ensuring the destination is worth reaching.
The story is ostensibly set in Victorian London but encompasses a range of different scenarios set at different times and in different locations – some of them definitely real, some of them almost certainly not.īut the setting is not chosen at random, or because all the old brass-plated technology looks cool, but because the game has something serious to say about the dehumanising effects of industrialisation. It’s unusual for indie developers to pass off a sequel like this (apparently Frictional just didn’t have time to do it all on their own) but since The Chinese Room are the team behind the superbly atmospheric Dear Esther they seem like a safe pair of hands.Īs you’d expect from them A Machine For Pigs is more story-focused than the original Amnesia, not just in form but in substance. The creation of Swedish studio Frictional Games, they’ve brought in British developer The Chinese Room to help with the follow-up.
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