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SOMA (Frictional Games)

Jaesun

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Imagine if these people played Penumbra Overture. Granted that would either scare the living shit out of them AND they would just find it too complicated or something.... fuck this gay earth...
 

Metro

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I think we're about two years away from games requiring no input whatsoever. Dear Esther is about as close as we've gotten so far.
 

sexbad?

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Nothing happened. They develop games for the mainstream and the mainstream eats shit like this up. Look at the reviews. People think this is groundbreaking/emotionally engaging.
It is emotionally engaging, though. The horror/monster parts are better than ever. The world is twisted, and the narrative has a lot more interesting things going on than so many of the games I've played. Since the survival horror has started to make up the majority of the game, now, I've encountered much less to complain about, and much more to praise.
 

Metro

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Why can't you be gay-mer with discriminating taste, like Jaesun?
 

Zarniwoop

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I think we're about two years away from games requiring no input whatsoever. Dear Esther is about as close as we've gotten so far.
It's definitely where The Elder Scrolls series is heading if you follow the trend.

The interface is even more "streamlined" than that of Skyrimjob (but only because it doesn't exist), all the pesky "RPG elements" are gone and there's no stressful "walking wherever you want" or sidequest parts to alienate a new generation of players with too many choices. Also none of that problematic combat stuff because it might trigger the PTSD of the Dumblr community. Who needs a quest compass when you can only move along a narrow, invisible corridor?

GotY 10/10 Groundbreaking. Majestic. Citizen Kane of gaming.
 

Jick Magger

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Yeah, just finished it now. Overall I'd say what primarily got me going was the story and atmosphere. Game isn't particularly scary, and if anything starts off with a tinge of dark humor with it (with the robot at the beginning on the conveyor belt who's utterly convinced he's human being a good example), but it builds up a good feeling of existential dread as it progresses, as you slowly learn more about the situation you're in and just how utterly fucked nearly everything is. Story's pretty interesting, covering topics that most other Sci-Fi games generally don't bother with. Guess the only complaint I have was with the protagonist's VA. While most of the voice actors in the logs sound tired or apathetic, that helps build up the tone of doomed nihilism that they all seem to be suffering from. The main character doesn't really have that excuse, and seems to react to all the major reveals in the game with mild bewilderment at best.

Monsters are a mixed bag. Think the game is great sound-design wise, but most of the monster designs aren't particularly good, with a majority of them just looking like walking pieces of snot more than anything else, though I've got to give them props for at least trying to keep the designs varied, so that you'll never see the same monster design more than twice. Feel like the AI's actually taken a step down from the already unimpressive Amnesia's. The only way a monster will see you is if you're standing out in the open, or if you're directly in their path. Even if they spot you it's pretty easy to lose them just by running out of the area they're patrolling, or turning a corner and finding anything knee- high to hide behind, as they're generally too slow to actually catch you if you start running. There were at least three separate points in the game where I managed to get a plot critical item or reach a plot critical area by just running past them, grabbing what I needed, then running back before the monster registered that I was there and actually started chasing me.
 
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sexbad?

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Some of the monsters are blind. It makes hiding in plain sight easy yet tense, but it also makes using the environment in pretty much any way very dangerous. I was able to run past a couple of guys in small areas with clear objectives, but I think that overall this is Frictional's hardest game yet, at least when it comes to stealth. Everything is much less predictable, and it makes the monsters all the more fascinating.
 

Cromwell

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Some of the monsters are blind. It makes hiding in plain sight easy yet tense, but it also makes using the environment in pretty much any way very dangerous. I was able to run past a couple of guys in small areas with clear objectives, but I think that overall this is Frictional's hardest game yet, at least when it comes to stealth. Everything is much less predictable, and it makes the monsters all the more fascinating.


I noticed that at least the first monster you meet only sees you when you come into its light (it has some light bulb attached to its head), there are also the deep sea monsters which wont see you until you move in their light cone. So I think them not noticing you otherwise is intended instead of an ai failure. They can hear you however.
 

Jick Magger

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Yeah, they seem to be more aware of noise in general, but for the most part it wasn't really enough to make the game noticeably difficult for me, as it can be easily alleviated by just crouch-walking in sections with enemies in them. For the most part they didn't seem to react to noises to the environment (they'd investigate when I threw an object somewhere, but not if I knocked something over unintentionally), and there were only two points in the game where they seemed to react to me interacting with the environment. I was actually kinda annoyed by the second one, because he's the second-to-last enemy in the game and all of a sudden the game decides to throw in an enemy who's now capable of hearing you open doors. Would've been nicer if that'd been introduced earlier.

And sure, they're a bit less predictable. Sometimes they'll even decide to take a five-step detour on their very set route between rooms, but it's not a whole lot. There's one bit in the game in perticular that felt like a really grating attempt at creating a poor man's Alien: Isolation, where after a few minutes of wandering around you can very quickly figure out where and when the 'stalking' monster will spawn in, do a little circuit around the hallways, and then despawn for a minute or so before coming back in and doing another circuit as close to you as possible. Think he varied it up there precisely once, where he decided to open the door to the office that I was in. I did briefly panic there, because I was sure he'd see me, but it turned out I was safe because despite crouching behind a desk that at best only covered my chest and the bottom of my head, smack-dab in the middle of a well-light room, he utterly failed to see me. He then walked down the hall and despawned within eyeshot. Think that kinda killed the spook factor of the game for me in the remainder of my run.


Except during the Tau run, if only because I'm fucking terrified by the deep sea.
 

AN4RCHID

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Got some genuine scares in Theta. Best part so far for me. There are some pretty big and complicated maps. The puzzles were even okay.

On the downside, the visual effects when near a monster and after getting hurt can get really obnoxious. I started feeling physically ill after a while.
 

sexbad?

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Yeah, they seem to be more aware of noise in general, but for the most part it wasn't really enough to make the game noticeably difficult for me, as it can be easily alleviated by just crouch-walking in sections with enemies in them. For the most part they didn't seem to react to noises to the environment (they'd investigate when I threw an object somewhere, but not if I knocked something over unintentionally), and there were only two points in the game where they seemed to react to me interacting with the environment. I was actually kinda annoyed by the second one, because he's the second-to-last enemy in the game and all of a sudden the game decides to throw in an enemy who's now capable of hearing you open doors. Would've been nicer if that'd been introduced earlier.

And sure, they're a bit less predictable. Sometimes they'll even decide to take a five-step detour on their very set route between rooms, but it's not a whole lot. There's one bit in the game in perticular that felt like a really grating attempt at creating a poor man's Alien: Isolation, where after a few minutes of wandering around you can very quickly figure out where and when the 'stalking' monster will spawn in, do a little circuit around the hallways, and then despawn for a minute or so before coming back in and doing another circuit as close to you as possible. Think he varied it up there precisely once, where he decided to open the door to the office that I was in. I did briefly panic there, because I was sure he'd see me, but it turned out I was safe because despite crouching behind a desk that at best only covered my chest and the bottom of my head, smack-dab in the middle of a well-light room, he utterly failed to see me. He then walked down the hall and despawned within eyeshot. Think that kinda killed the spook factor of the game for me in the remainder of my run.


Except during the Tau run, if only because I'm fucking terrified by the deep sea.
In these cases, are you talking about Akers? Some of the situations sounded familiar, but I didn't notice anything about him despawning. I was almost always able to hear him, and I don't think he followed a patrol at all. He is also blind, which would explain why he didn't see you, if I know the room you're talking about. The only time he despawned for me was when I locked him in a room, and I guess the developers meant to show that he eventually wiggled himself out.

The AI was very perceptive. They picked up on little glimpses of me, and in the case of blind enemies, went to investigate every sound I made, including knocking over/stepping on little objects, and crawling. I often ended up nudging myself along by tapping movement keys so that I wouldn't make noise.

I finished what I think was the first of two segments with a new enemy. I have close to no idea what to make of its behavior, and that's really good. I hope the don't fuck it up and just make it some sort of Slenderman-type thing.
 

AN4RCHID

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:salute: That final act.

There are still major fundamental issues with the game, but I can't deny it was a good ride. I'm honestly surprised it won me back as much as it did after the first 3 - 4 hours. The story really delivers as good science fiction. And, dare I say it, it was both immersive and emotionally engaging storytelling.

Even still, it makes me think how amazing this could have been with a better fleshed out stealth system & encounters, more interesting puzzles, or even some combat. Anything to make it feel like I was invested in the gameplay. It does get a LOT better in the second half, but it's still mostly alternating between looking for the clickable switch and extremely undercooked stealth sequences that have no consequences for failure. Sadly, what with all the critical praise this is getting, I don't see Frictional learning much from these mistakes.

Notes on the ending:

Doesn't it seem kind of bleak to launch the ARK into space with no chance of the inhabitants ever getting back off? I don't see how this is saving humanity. They'll live forever / until they fly into a star or get hit by an asteroid, but they can't do anything outside of their nicely landscaped prison. I'm sure it'll be fun to bone Catherine for a few years, maybe read every book in existence over the course of a mellennia, but eventually it's going to turn into I Have No Mouth And I Must Scream. I almost think the WAU taking over was the better option. At least it would continue to grow and evolve.
 

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Finished it.

Monster encounters sucked. Puzzles sucked. Audio was superb. The last underwater sections were pretty atmospheric. Plot was interesting, but the whole ending was a bit underwhelming.

Ending was meh, I was expecting some mindblowing twist. Did any of your choices matter, are there different endings? Did I miss something, what was the whole purpose of WAU and who was that guy talking to you and how did he get there ? Why did they not launch the Ark, other than some guy complaining about the odds?
 

Jick Magger

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Ending was meh, I was expecting some mindblowing twist. Did any of your choices matter, are there different endings? Did I miss something, what was the whole purpose of WAU and who was that guy talking to you and how did he get there ? Why did they not launch the Ark, other than some guy complaining about the odds?

First two points are explained in a workshop in the Tau site, it's easy to miss if you're not looking for it:

* WAU was basically an AI that Johan Ross designed to maintain PATHOS-II and to keep all the crew aboard it alive. When the comit hit, the AI had a freak-out and began evolving, developing its structural gel to the point where it could alter people on a biological level, and it began taking its directive to keep the crew of the station alive to ridiculous extremes. It's why you find robots throughout the site that have human minds; WAU took scans of people who died or committed suicide and placed them in there because to it, that constituted 'alive', as well as people who've been assimilated by the gel and are kept alive artificially, like that woman at the beginning who was being kept alive by a set of artificial lungs that were connected to the tram's power. It literally will not let them die.

* The guy was Johan Ross, who was mutated by the gel and is now trying to kill WAU to stop it from spreading further.

* Basic human desperation. By that point the two or so dozen people still alive at PATHOS-II were the only humans left alive on the entire planet, and the ARK represented their last and only chance of preserving human civilization. Catherine seemed to have been the only one who was really dead-set on having it launched from the space gun, so once she was murdered they probably all just gave up on the idea and decided that potential destruction later on was better than potential destruction right now, and they were all killed before they had a chance to really stew on the decision they made.

I guess my only real complaint is what was referred to earlier, in that Simon didn't pick up on the fact that 'he' wouldn't actually get on the ARK himself. Throughout the game Catherine displays a callous indifference to the morally objectionable things she's doing for the sake of getting the ARK launched (I mean, she'd of been perfectly fine with leaving Simon-I trapped in a locked room alone for all eternity had Simon-II not picked up on it), so it makes sense that Catherine would lie by omission to him about it, but the fact that he doesn't pick up on it despite the fact that he's seen her do similar things on multiple occasions bugs me.
 

Zewp

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I think it really deserves a second playthrough in order to fully understand precisely what was going on. I'll wait for trainers to start coming out and then play through with an invisibility cheat so I can read all the data logs at my own pace. Especially the last monster made it very difficult to go through the terminals because it was dangerous as fuck.
 

sexbad?

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Finished the game.
I guess my only real complaint is what was referred to earlier, in that Simon didn't pick up on the fact that 'he' wouldn't actually get on the ARK himself. Throughout the game Catherine displays a callous indifference to the morally objectionable things she's doing for the sake of getting the ARK launched (I mean, she'd of been perfectly fine with leaving Simon-I trapped in a locked room alone for all eternity had Simon-II not picked up on it), so it makes sense that Catherine would lie by omission to him about it, but the fact that he doesn't pick up on it despite the fact that he's seen her do similar things on multiple occasions bugs me.
This first spoiler is in direct reply to you. The other one isn't.

I think it would have been much better had Simon accepted his fate underwater calmly but with remorse. The first two times he was duplicated were thought-provoking (and the second was shocking!), but by the end, I was prepared for that to happen.

I take back what I said about it being their most difficult game. Akers was tough for me, and that experience really resonated with me, but I only died a handful of times overall. Still, the enemy variety made almost every encounter--after the first sort-of tutorial monsters--harrowing and fascinating. I say "almost" because by the time I got to Tau, I got the hint about the doors. You know, the ones with the eight bolts that unscrewed one-by-one? The first time I opened one, I stood back and peeked to watch it open, and right on the other side was a monster. I let it go forward a little bit, then sneaked past it without any trouble. I didn't see what it looked like at all, and it never bothered me again. It was pretty anticlimactic, because I get the feeling that, considering Zewp's post, it was supposed to be daunting.

Apart from Simon's overreaction at the end, I really thought the story was just great. The contemplation it inspired in me was real, and it was just as clever as The Fall, to name another SF game that satisfied me. There are little surveys dotted throughout the game about virtual reality and the ARK project, and I took them seriously, because my thoughts about what was asked more or less reflected my thoughts on what was going on in-game. After the credits rolled, I got a repeat of the first (?) survey, and it was fascinating to realize that my opinions on the questions it raised had actually changed.

Over all, the game left me with fondness, which is not what I expected. I still stand by my complaint that it was just begging to be a true point-and-click adventure game, but some of the survival parts and the wonder of the story and world saved it from being another Machine for Fags.

The sad thing is that the way to introduce more meaningful interactivity into the world was staring the developers right in the face. Before they released the game, they released some weird little morsels of writing on Twitter in order to get players "in the mood" or something:

y2zWGSr.png


HasmbFz.png


COe2YLbUEAAteyT.png


I think the third one contains the most potent ideas for interactive sequences. Imagine all of the weird concoctions of flesh and machine that appear around the outposts, and think about what it would be like to interact with them on such a level. There is nothing like this in the game, but it could go in perfect harmony with the themes that are raised. Imagine that the entire WAU is one big puzzle that you need to navigate your way through by provoking strange reactions and fooling its systems. It's no easy task to design, but the game has a very impressive feeling of cohesion. I wouldn't put it past the developers' abilities, if they really set their minds to the task.
 

Jick Magger

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Finished the game.

This first spoiler is in direct reply to you. The other one isn't.

I think it would have been much better had Simon accepted his fate underwater calmly but with remorse. The first two times he was duplicated were thought-provoking (and the second was shocking!), but by the end, I was prepared for that to happen.
I think that it was ultimately done to try and make Simon-II's fate seem that much more downbeat, now that he's trapped at the bottom of the ocean, alone, possibly broken, and potentially even stuck in the seat he's sitting in, for all eternity. I guess it was supposed to make us feel emotionally confused when juxtaposed with Simon-III's ending. Sure, 'our' Simon didn't make it there, but then what is 'our' Simon? The Simon who got there is ultimately exactly the same as the one down there, just completely unaware that there was another him that never made it off. Taking it a step further, he never really was fully 'our' Simon to begin with, he's just a copy of the Simon we were playing as for the first half of the game that you either left trapped in an empty room for all eternity or mercy killed, who was in turn just a copy of the Simon you played in the prologue who's been dead for decades. They were hardly more real than the Simon who ultimately made it up there, essentially being AI's puppetting corpses of long dead (female) crew-members of PATHOS-II.

I do still think it could've been handled a lot better, seeing as the way it was ultimately executed makes Simon look like a colossal moron, but I think I see what they were trying to do.
 

sexbad?

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I went through the last leg of the game and made opposite choices to see if the C&C had any effect on the story. There are no differing consequences whatsoever, but I have to say, they are really well informed choices. I suppose that they serve as litmus tests similarly to the surveys dotted throughout the game. Still a wasted opportunity for some kind of alteration in the world, or a change in the epilogue.
 

Cromwell

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I went through the last leg of the game and made opposite choices to see if the C&C had any effect on the story. There are no differing consequences whatsoever, but I have to say, they are really well informed choices. I suppose that they serve as litmus tests similarly to the surveys dotted throughout the game. Still a wasted opportunity for some kind of alteration in the world, or a change in the epilogue.

wasnt there stated somewhere that it has different endings? On what actions do they depend then?
 

AN4RCHID

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Dev blog about sales and reception: http://frictionalgames.blogspot.se/2015/10/soma-10-days-after-launch.html

Frictional Games said:
SOMA - 10 days after launch

SOMA has now been out in the wild for 10 day so it felt fitting to write a summary of how things have gone so far. But first a little trailer:



Sales
I'm going to start with what I think most people are interested in: how much has the game sold? The current number now is at about 92,000 copies across all platforms (due to legal reasons we can't give a per-platform breakdown). This is quite good for 10 days (+ preorder time) of sales! The money that we've got from this will pretty much pay our company expenses for another 2 years. Sales are still going pretty strongly too, with a total of around 2,000 copies sold per day. This number is bound to drop over time, and it'll be interesting to see just how fast and where it stabilizes. While a lot of sales obviously come close to launch, a big part of our normal earnings comes from a slow daily trickle over the years of our existing titles. So our average daily sales a month or so from now on is actually more important than all of the units sold up to this point.

How does this compare to our other releases? Well, Amnesia: The Dark Descent sold 30,000 copies in the first month (and around 20,000 the first week). So SOMA's launch is obviously a lot better than that. Compared to Amnesia: A Machine For Pigs, though, the launch is a little bit worse. That game sold about 120,000 copies the first week.

Our goal for SOMA's sales is 100,000 after a month, and at the current pace it should be able to reach pretty much exactly that with a few units to spare. However, this doesn't mean that we've come close to recouping all our costs. We need to sell almost 3 times that amount to do that. But given that it took us 5 years to make the project, there's no immediate stress to do so. One of the great things about funding SOMA 100% ourselves is that all money earned goes into our own pockets and is directly used to fund our upcoming projects. So we are under no pressure to recoup immediately so long as we get enough to keep going - which we certainly have now.

Finally, another very interesting aspect is how new titles tend to cannibalize on the previous ones. We saw this with A Machine for Pigs; after it launched the daily sales of The Dark Descent were almost cut in half. That was not that unexpected though, given that they are both from the same franchise, but still a bit weird that the games' combined sales ended up being pretty much what The Dark Descent sold on its own before. What we didn't expect was for SOMA to do the same. When the pre-orders for SOMA started, Amnesia sales dropped by about 30% or so and this drop still remains. This feels strange as the two games are not connected apart from being made by the same company, so we wonder what mechanism it is that causes this. It might be that Amnesia's sales will rise again a bit later on though, so it's too soon to tell yet just what the effects are.


Reception
The critical reception of SOMA has been, overall, really, really great. MetaCritic is currently at 85 and the Steam reviews are 94% positive.

The thing that I worried most about personally was how the themes would be received. It turns out that I needn't have worried - that's the thing we have fewest problems with. Even reviews that gave us so-so scores lauded the game for the thought-provoking narrative. This feels awesome, as this has been the core focus during our five years of development.

The most common issue people have had is that they've felt the game wasn't scary enough. This is quite interesting, so I'd like to take a little time to discuss this.

One reason this was so is probably due to expectations. While we've tried to be very clear that SOMA will be a different game from Amnesia: The Dark Descent, we have still used the name "Amnesia" as a way to grab attention. This sends a bit of a mixed message, as people might simply assume that because we say "from the creators of Amnesia", a similar experience will be provided. One idea would have been not to mention the studio's heritage, but that feels stupid from a PR perspective. Another idea would have been to tone it down a bit, but it's hard to say exactly how to do that. The fact of the matter is that SOMA, just like Amnesia, is very much a horror game. It's just that it is presented in a different manner, using slower build-up and more focus on the psychological aspects.

Another reason why some people felt it was not scary enough is because horror is extremely subjective. The reactions to how scary SOMA is range from "not at all" to "the scariest game I have played", and some of the people in the latter camp are survival horror veterans. We had this sort of reaction to Amnesia: TDD as well, but it feels even more spread out for SOMA. When we released The Dark Descent, horror with no combat was still a very fresh concept, but five years later that is no longer the case, and it has lost its impact for some people. SOMA also employs a riskier approach to monster AI that assumes the player will act in certain ways and reach a certain understanding about how the creatures work. If players don't do this the experience might suffer. Above all, the main horror in SOMA is supposed to come from the existential dread that's slowly unveiled as the game progresses. And in order for this to work properly, a lot of pieces need to align, and it will not work for everyone.

So in the light of that, it doesn't feel all that bad that we didn't get a more universal praise for the game's scariness. But it's taught us a valuable lesson: that one should be very careful in managing people's expectations. This is a lesson that we thought we knew after A Machine For Pigs (which didn't turn out to be the game many wanted it to be) but apparently we hadn't learned enough. Once your studio gets associated with a particular game, it'll play a huge role in what people expect from upcoming releases. That said, the vast majority of people that had expected another Amnesia ended up enjoying SOMA once they realized the game was different. So I don't feel it has been a complete failure by any means, but just one of those things that needs more work in the feature.


Piracy
It is so interesting that this is no longer a subject brought up much any longer. So I thought I would quickly get into it. And the first thing to note is that SOMA is the first game we have launched without having a pirated version out before release!

Another thing I have noticed is that we get fewer tech support requests from people with pirated versions than we used to have. It's often pretty easy to spot these people as we issue new patches frequently, so there are lots of telltale signs in the log files. I'm not sure if this means piracy has decreased for SOMA, or if these people find tech support elsewhere, but I felt it worth mentioning.

As for us personally, we haven't even talked about piracy. The only time it matters to us is when sending out review copies. Amnesia had a pirated version leaked before release, so now we make sure that we at least send out a DRM-protected version of the game to reviewers. But other than that, I don't think we've discussed it for even a second. This is quite different from back in 2007 when I know me and Jens had hours of discussions on the subject.


Marketing
I've already touched upon this above when discussing the game's reception. However, how to market SOMA in terms of horror was the easy part. The hard part was to explain what makes the game special. When we released Amnesia, showing off the physics and explaining that you couldn't fight back was more than a enough for the game to stand out. But now the market is filled with these types of games, and more is needed to get people excited.

The main unique feature of SOMA is its exploration of consciousness and what it means to be human. This is also what has been the most celebrated feature of the game after launch. But explaining this to press and gamers prior to release has been exceptionally difficult. This is not some gameplay gimmick that can be shown off during a short demo session, but something that requires hours of build-up. So when you talk about the game, you have to be fuzzy and talk about very high-level concepts. When doing interviews like this I often got the impression that I wasn't really taken seriously. The press don't expect any lofty design aspirations to come true and would rather hear about concrete and more easily-digested (and explained) features.

To make things even harder, SOMA is very hard to talk about without spoiling the experience. I could never give an example of exactly how we handle our thematics through gameplay without spoiling a big chunk of the game. This problem of spoilers also makes the game hard to demo and to give to YouTubers. If we just give people a part of the game where you are chased by monsters, that would misrepresent the game (making the expectation problem worse) and fail to explain what is so special about SOMA. And if we show off one of slower sections that are all about build-up, mood and thematics, we have to show off really long segments, which becomes too spoiler-filled and takes way too much time for a demo. (For more discussion on making a demo for SOMA, see here).

We solved the YouTuber issue by only sending it out to a few trusted people, and only allowing a maximum of 15 minutes to be shown. That way we got people to play a lengthy part of the game (around 3 hours) and then show a distilled, and fairly spoiler-free, video to their viewers. We could only do this pretty late in development though, and given how important streamers and YouTubers are for PR these days, it felt like we would have like to do more earlier.

Another issue is that we might have unveiled the game a bit too early. We first showed off SOMA back in October 2013 and the plan was to keep content coming out until release. This turned out way harder to keep up with than what we'd initially thought. Because we were so unwilling to spoil the game, we could provide very little in terms of playable material for the press. Because of this, we had issues getting proper coverage at the end, as most of the standard things like "first playable preview" had already been done over a year back. We'd also had a plan to release a monthly live-action video clip to keep interest up, but because of production problems it got delayed and this plan fell through. (We are however showing them now!)

So it feels like it might have been better to have unveiled the game a year or so later to be able to keep up interest all the way to release and to have a more massive promotion campaign that way. A big issue with that is that it would have been very bad for the team morale. It's quite hard to work on a project in the dark for several years, and there was a very evident boost in spirit once we had let the world know that SOMA was coming. Added to this is that we got a lot of good feedback from press and fan reactions, which helped us shaped not just our PR but the actual game too. This is makes it much more uncertain if a later unveiling really would have been a better move.


Future
So what is next for Frictional Games? First of all, now just about all of the major post-release issues have been patched up, most of the team will take some rest. We'll then focus a bit on documenting how the game and engine works, in the hopes that modding will reach the glorious heights it did for Amnesia. After that we are on to new secret projects. But those secret projects are really secret, so we can't say a word.

Finally a gigantic thanks to all who have bought the game! We love hearing about your experiences so please tweet, comment on Facebook, or leave a comment here and say what you thought about the game!
 

Jick Magger

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PC RPG Website of the Year, 2015 Serpent in the Staglands Shadorwun: Hong Kong Divinity: Original Sin 2 Bubbles In Memoria
wasnt there stated somewhere that it has different endings? On what actions do they depend then?
There was a brief mention of an alternate ending on Wikipedia

Where Siman can choose to delete himself from the ARK at the end with the survey.

But that was quickly removed. I went on YouTube to try confirm whether or not it's real, and from the endings that I saw from the half dozen or so LPs I went through, they all ended pretty much the same way.
 

sexbad?

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Codex USB, 2014
Yeah, I read about that possibility, but I asked to have myself deleted, and nothing changed.
 

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