I've finished Cryostasis already.
I know, I was talking to Liz. I've reached Chapter Fifteen, so I have Escape, and so on from that. Oh, Mikael, the scene with the prisoners turning away from the open door to freedom -- sublime.
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I've finished Cryostasis already.
I know, I was talking to Liz. I've reached Chapter Fifteen, so I have Escape, and so on from that. Oh, Mikael, the scene with the prisoners turning away from the open door to freedom -- sublime.
I know, I was talking to Liz. I've reached Chapter Fifteen, so I have Escape, and so on from that. Oh, Mikael, the scene with the prisoners turning away from the open door to freedom -- sublime.
I thoroughly agree with you, my friend.
What is your opinion on the character design, especially the wardens and the way they are introduced there?
Zeno Clash is certainly nothing profoundly special, don't misunderstand me -- I am far from parading it as the latest and greatest. It is competent, refined, and focused; thus far, it's beating Cryostasis, though both can claim competence. Yes, the quirky art-style is its main selling point, and I think it definitely carries the game further than it deserves, but that in itself is far more diverse than Cryostasis has so far proved to be. Its combat is also clunky, but less Condemned, more Butcher Bay; as far as I am concerned, Butcher Bay is far better than Condemned, and thus I consider it to be significantly more satisfying and a worthy comparison.
But look, I'm not claiming Zeno Clash is some leaps-and-bounds ahead of Cryostasis. I'm not. There is something far more delightful about the latter, mostly in its vision, but so far one has fired up my entertainment meter more than the other, and it isn't the one with the meteorologist.