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State of Mind - futuristic sci-fi adventure from Daedalic

Self-Ejected

Excidium II

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We can finally make games that look as good as cutscenes. Interstate 76 cutscenes. TECHNOLOGY!
 

Boleskine

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https://adventuregamers.com/articles/view/33003
State of Mind

An accident. A burning building. Pain. Night. Darkness. Then, a hospital. These are the opening notes of State of Mind. Coming from the mind of Martin Ganteföhr, fans of his previous game The Moment of Silence may have an idea or two what they’re in for. The game deals heavily with the ethical implications of transhumanism, the idea that humanity can evolve through the aid of science and technology.

It’s been a year since I last saw State of Mind in action, and this time around, Daedalic’s Lisa Mallory was there to guide me through the first twenty minutes or so of gameplay. Richard Nolan has just awoken from an accident, only to discover he’s experiencing some memory loss. Navigating through the clinic, answering a doctor’s probing questions functions as a sort of tutorial to the game’s controls, and provides some basic information on Richard’s life. He’s a husband and father and works as a reporter for a publication called The Voice.



State of Mind’s third-person gameplay functions well with a controller’s dual thumbsticks for character and camera movement, respectively, with a context-sensitive control scheme: walk up to something, press a button to interact with it. It’s not your usual point-and-click adventure, but a fully-realized 3D world that presents the player with choices that have lasting consequences. Case in point: After Richard leaves the clinic and returns home, he finds it devoid of human life; both his wife and his son have disappeared. Waiting for him instead is Simon, a household bot, and we quickly learn that Richard does not have a soft spot for him or, for that matter, most other technology. Given several dialog choices, you can choose to get downright ill-tempered with poor Simon, to the point that it’s possible to kick him out of the house. However, as Lisa explained, if he’s shown the door now, he will not be around to help Richard in his investigation later on.

That investigation is what much of the game revolves around. Richard wants to discover where his wife and son are, and learn more about the mysterious accident he experienced. State of Mind will focus less on puzzles and inventory use and more on detective work. For Richard, that means collecting evidence, following up on leads, talking with others, and using his laptop to research and write stories and news articles, tying in with his job as reporter.



But as so often happens, not everything is as it appears. What starts as a simple missing persons investigation turns into something much more sinister the deeper Richard digs. While I’m still playing, Richard receives a call on his home’s holographic vidphone. The life-size hologram of his mistress materializes; it seems Richard isn’t exactly squeaky clean either. There’s a lot of attention being paid to making the characters flawed, human. The story’s scope even encompasses at least two other playable characters, with control switching between them at predetermined points.

A big component of the game’s design are the dual settings dubbed Dystopia and Utopia, the former being the city of Berlin in the year 2048 that Richard lives in, and the latter the completely virtual City 5, which stands in stark contrast to the dingy, corrupted real world. Uploading one’s consciousness into the virtual realm creates a walking, talking, “living” incarnation of oneself, one who isn’t even aware that it is, in fact, an artificial being. This opens up a treasure trove of narrative possibilities, especially since Richard’s consciousness has itself been uploaded, creating the character of Adam. Just how Adam figures into the story is one of the mysteries left for players to discover.



Daedalic currently has their sights set on a release in the first quarter of 2018. The initial round of releases will be for Windows, Mac, and Linux, with later focus on PS4, Xbox One, and possibly Nintendo Switch.
 

SCO

Arcane
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Shadorwun: Hong Kong
I'm no graphics whore. I'll download this if it isn't 30gb fully voiced multilanguage extravaganza. Pay for it? Ehhh, i'm poor. I'll give free publicity if its good, best deal.
 

Belegarsson

Think about hairy dwarfs all the time ( ͡° ͜ʖ ͡°)
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Steve gets a Kidney but I don't even get a tag.




Out August 2018. I don't have much faith for recent Daedalic outputs but hey, cyberpunk.
 

Boleskine

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Messages
4,045



  • very story-driven, quite dialogue heavy, with various minigames
  • sometimes the world opens up then the game "closes it down" to advance the story
  • 12 languages supported
  • no VR support
  • main character voiced by same guy who voices Geralt in The Witcher series
 
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Cromwell

Arcane
Joined
Feb 16, 2013
Messages
5,443
very story-driven, quite dialogue heavy, with various minigames

what does that even mean, every Point and Click is story driven by default. So they could just write "like a point and click just without pointing, clicking, puzzles and everything else that doesnt make it a very badly animated movie."
 

Infinitron

I post news
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Messages
97,228
Codex Year of the Donut Serpent in the Staglands Dead State Divinity: Original Sin Project: Eternity Torment: Tides of Numenera Wasteland 2 Shadorwun: Hong Kong Divinity: Original Sin 2 A Beautifully Desolate Campaign Pillars of Eternity 2: Deadfire Pathfinder: Kingmaker Pathfinder: Wrath I'm very into cock and ball torture I helped put crap in Monomyth
https://www.pcgamer.com/state-of-mi...se-sci-fi-adventure-with-pretty-environments/

State of Mind is an intriguing, dense sci-fi adventure with pretty environments
Hands-on with this long-in-the-making 3D adventure game.

axAm3TWTxAqgrQ99hAivWW-320-80.jpg


In State of Mind, the world is split between a dystopian reality and a utopian digital alternative. In 2048 Berlin, journalist Richard Nolan criticises the move towards mass surveillance and automation, where a powerful network remembers details like which illnesses and conditions you have so it can treat you. After Nolan and his family are caught in a suspicious accident, he finds himself at the centre of a conspiracy. The digital world, meanwhile, is simulated based on all this information harvested about real people.

Mass surveillance and transhumanism are far from new themes in popular fiction, but it's the presentation of the split between these two worlds that's intriguing about State of Mind. Real world Berlin looks like a Blade Runner riff—bright lights and slightly grimy. The sequences based inside the digital world, meanwhile, are shinier and cleaner. In State of Mind, you alternate between six different characters as the conspiracy unravels, though about 60 percent of the story is focused on Richard.

Richard's personal stake in the story is his son. While exploring a secret facility that begins the demo, he overhears a meeting between some sinister-sounding execs where they call his child, James, an AI project—he's been raised like a normal kid by real parents, but he's a living experiment. This location also houses lots of bodies in tanks, with ominous labels like 'suited for organ transplants, surrogates, testing'.

State of Mind is a contemporary point-and-click game above anything else—you navigate 3D environments figuring out how to reach the next area. In my demo, that involves mixing chemicals in a syringe to knock out a doctor and take his keycard, based on post-it notes around the environment that hint at the correct ingredients. Another puzzle has you constructing a shock device so Richard can reach through a vent and jab a security robot with it, allowing him to reach a room with a switch that opens a nearby door.

Some of the puzzles don't do it for me—placing pieces of cover in front of security cameras so you can avoid their vision cones, for example, feels very old school. But one type that repeats several times does appeal: you slide tiles from different environments together to form an image of a single place, and then you're transported to one of Richard's memories set in that location. It's an impressive effect.

In the demo, the other character I try is a guy called Adam, who's voiced by Doug Cockle of Geralt fame. Adam is based in the digital world, and he and Richard share some odd connections: they have near-identical memories of an accident involving a car crash, for example, and their lifestyles seem pretty similar. Adam's trying to piece together why using a pinboard in his apartment.

The art style is a much better fit for the environments than the characters. The low poly models are expressive enough that I understand them in cutscenes, but a flatter design would've been easier on the eye. You do get used to them, though, and the colour palette's split across the two worlds is effective.

My favourite moments in State of Mind involve more subdued situations, like a helper robot asking if she can sit and listen to music with Adam in his apartment, which is a nice little bit of characterisation. You can interact with the art on the walls in the game and they'll pop out as a 3D display, which looks cool. In one section, Adam has the option to change the colour of sky in his virtual world, and to play music in different parts of the environment. These details make it feel like the developers have taken world-building seriously.

The story itself is so dense that it's actually tricky to parse in demo form, but I'm curious to see how deeply State of Mind will explore its themes—and whether it'll have anything new to say about them.

State of Mind is out on 16 August.
 

Boleskine

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https://adventuregamers.com/articles/view/35612

State of Mind hands-on preview
Written by Richard Hoover — August 3, 2018
som-fp1__huge.jpg


“Slow burn” is the term I’d use for the plot of 2004’s The Moment of Silence. It’s also how I’d describe the start of lead writer Martin Ganteföhr’s new adventure State of Mind, and for the same reasons. Sharing similar technological and societal themes and scenarios, the latter feels like a spiritual sequel of sorts, at least on the story front in the introductory demo I got to preview. Both visually and control-wise, however, this game is a long way from its predecessor and it took me some time to adjust to both those aspects.

The game opens with a lengthy montage cutscene that sees the camera sweeping through the streets of Berlin at night in the year 2048. With the gloom, the dark silhouettes of buildings, and the shop signs depicted in glowing neon, it has a very Blade Runner-esque feel. Beyond that, the other thing you’ll quickly notice among the robot police, homeless street people, and prostitutes (both robotic and real) is the stylistically low polygon count for the real-time 3D world the game takes place in. Aesthetic tastes differ, but I initially found the style very jarring as it’s evocative of those clumsy, blocky 3D graphics of the late ‘90s. Fortunately, characters here move with more fluidity than they did back then and I gradually came to enjoy the look.



The early stages are quiet, but in a low-key sort of way as opposed to no sound at all. My initial exploration was accompanied by simple background tunes played out on piano or winds. Low ambient sounds from the flow of traffic or the tweeting of birds can be heard in outdoor locations. During cinematics, the score does ramp up to the more bombastic, bringing energy and tension to those sequences when they become more action-oriented. The game is also fully voiced, with the few characters present in the preview performed well.

The adventure proper begins when your first playable character – Richard Nolan, a journalist for "The Voice" – awakens in a hospital after having been involved in a car crash. The doctor walks Richard through his paces to gauge how he’s recovering, which serves as a tutorial section for the main interface. Using a third-person, over-the-shoulder point of view with direct controls, State of Mind seems geared towards play with a game controller, although I couldn’t get mine to work with it. Instead I used the standard WASD and mouse combination, which I found wasn’t as tight as it could have been, with Richard taking a few moments to course correct when turning, even though the game ran at a silky smooth framerate using Unreal Engine 4.

After going through the basics at the hospital, Richard returns home to an apartment that is empty save for a robot servant that his wife recently purchased. Tracy and son James are nowhere to be found, so you guide Richard around the apartment (dodging the robot, who has a tendency to unintentionally get in the way), examining the various hotspots that are constantly marked by small floating green triangles. These form part of the augmented reality interface Richard has embedded in his head. Drawing close to one of the triangles displays its name and indicators for the buttons you can press to examine or interact with the object if possible.



Once you’ve searched Richard’s apartment and learned what happened to his family, the game then transitions to your second playable character – Adam Newman, a journalist for "The Present" – who awakens at home where he’s also recovering from a car crash. His wife Amy isn’t there and he has to search his apartment and meet his young son John before heading out for the day. While Richard’s part of the story takes place at night under a dark cloudy sky, Adam’s is set during the day with nice, clean white buildings. Somehow that just adds to the sense of foreboding elicited by the medical center Adam has to take his son to for a daily checkup, the reasons for which aren’t disclosed at this juncture.

As the game progresses and more is shown of both Richard and Adam, it’s clear certain aspects of their lives are eerily similar. In the closing moments of the section I played, Adam’s existence is revealed to Richard. More specifically, the nature of Adam’s existence as a fractured, incomplete digital copy of Richard is revealed. Richard himself doesn’t remember how this happened but it’s explained that the defect is due to the digital copying – more a memory extraction – itself. Did Richard volunteer for this procedure? What went wrong? How is his family involved? And what will all this mean for Adam when the two finally meet in some form or another? These are the questions teased at the end of the demo and promising to pave the way for the rest of the story.

The preview took me 2½ hours to complete, most of that time spent with Richard learning the different control schemes. When his wife fails to return home or even contact him, Richard begins to investigate, during which time you’ll discover that their marriage hasn’t been doing well and Richard suspects there may be more to their absence than a visit to Tracy’s parents. All of this digging involves, among other things, contacting people through his AR integrated cell phone, reconstructing a digital surveillance image of his home, and overriding the controls of a security drone to fly it around a night club in order to conduct clandestine surveillance on the club patrons. Prompts and instructions for all of these different interactions are displayed on screen, and a good job is done in naturally introducing them within the story of Richard’s search for his family.



At least based on what was shown in the preview, State of Mind doesn’t go for “puzzles” in the traditional sense, as while you do have an inventory of sorts represented in the AR interface, you don’t directly interact with it. Instead the game automatically uses items you collect when appropriate, such as when offering a cup of coffee to a coworker as a dialog option. As such, most of the gameplay I encountered that didn’t require a special interface involved methodically working through all of the hotspots in each environment.

With its run-down but hi-tech future, intriguing connections between the two protagonists, and slow burn (so far) storyline, State of Mind looks to be the kind of contemplative science fiction thriller we’ve come to expect from Ganteföhr. The low-poly visuals and somewhat floaty controls (if these aren’t tightened before release) may take some getting used to for point-and-click fans, but shouldn’t be too much of a distraction once you adjust to them. Whether the full game can deliver on the story promises just barely teased here remains to be seen, but early indications are that we can look forward to another compelling narrative-driven adventure next month when the game releases on PC and consoles on August 15th.
 

Infinitron

I post news
Staff Member
Joined
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Messages
97,228
Codex Year of the Donut Serpent in the Staglands Dead State Divinity: Original Sin Project: Eternity Torment: Tides of Numenera Wasteland 2 Shadorwun: Hong Kong Divinity: Original Sin 2 A Beautifully Desolate Campaign Pillars of Eternity 2: Deadfire Pathfinder: Kingmaker Pathfinder: Wrath I'm very into cock and ball torture I helped put crap in Monomyth

https://af.gog.com/game/state_of_mind?as=1649904300

https://www.rockpapershotgun.com/2018/08/16/state-of-mind-review/

Wot I Think: State of Mind

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For me, cyberpunk fiction has two tropes which shape pretty much everything about its stories. Firstly, the protagonist is always on some kind of fake quest, trying to discover something about their world; they then instead end up discovering their own values, history, past; their very self. Secondly, robots, AIs, cybernetic hybrids etc are almost always revealed to have some fundamental humanity that none of us can reasonably deny. Think Deckard and, latterly, Ryan Gosling’s K in the Blade Runner films. They set out to investigate androids and their dreams, and discover instead the reality of themselves. Deckard might be an android. It’s ambiguous, but that ambiguity doesn’t matter because no one who sees the films could deny his intrinsic humanity. Identity and emergent humanity loop into one another and you end up with a great story.

Doing these tropes justice is what makes great cyberpunk. It’s what connects 2001: a Space Odyssey with games like Deus Ex, and makes for a meaningful commentary on issues like posthumanism. State of Mind is a beautifully crafted cyberpunk game, with an immersive and interesting world that’s second to none, but it ultimately fails at doing cyberpunk fiction well.



It fails at this by convoluting and contorting these two tropes to the point of making them glib and meaningless. The following is an abbreviated list of the events that are happening at the start of the game: the emergence of a Skynet-esque AI; the colonisation of Mars; robots coming to consciousness; a robot uprising; a luddite humanist revolution against tech; an evil tech firm trying to copy and paste consciousness; some kind of Matrix thingy; a plot about memory fragments that is inexplicable; and, you know, another Skynet AI coming to consciousness in China.

Coming at the core tropes of cyberpunk from so many perspectives and angles, and all at once, lessens the impact of any one narrative. And that’s really frustrating, because if you ignore State of Mind’s clusterfuck plot, it succeeds on almost every count.

You first play as Richard Nolan, one of multiple player characters. He’s an amnesiac recovering from a car crash in dystopian Berlin, 2048 (Orwell wrote 1984 in 1948, so the date entendre here is no doubt intentional). Richard’s family is missing and he’s trying to find out what’s happened to them. He works day to day as a journalist writing about technology and its vice like grip on people’s lives. Richard is a unique character because he’s angsty, flawed and not a nice or good guy. He scowls at robots and drinks whiskey as he writes. He’s also voiced by Doug Cockle, who voices Geralt in The Witcher series. So of course he’s a likeable bastard.



The game follows the conventions of an immersive sim, based firmly in the traditions of a point-and-clicker. You wander around and explore the world by reading notes, and nice little green triangle icons lead you forward to key characters and information. The odd puzzle breaks up this exploration. There’s no big action, no guns or magic powers, just interpretation and player choice, and this makes the game a super chill and laid back experience.

This relaxed feel comes from the game’s excellent world building. There are two main hubs: dystopian Berlin and a futurist paradise called City 5. Future Berlin is thankfully a scuzzy and weird place. It’s raindrops and teardrops and neon lights. One particularly good section takes place in a nightclub called Doomsday. There, despite the ability to build robots that can grasp the finer nuances of emotional psychology, the bouncers are still judgemental pricks, and the Italian disco kids are still smashing pingers like there’s no tomorrow. Flashing lights, lasers, luminous stairways and minimal techno accompany your stroll through the club. One piece of graffiti reads “The Wall is Back”, which made a far subtler and more effective point than the actual plot.

In contrast with this is City 5, a futurist paradise full of sweeping vistas and beautiful modernist towers. The places here have elliptical names like The Present and Infinity Plaza and it’s reminiscent, in the best way, of the domed city from Logan’s Run. It’s extremely zen to wander around City 5, and as you do lilting piano music rises and falls as volumetric god rays hit you in waves. (The game’s entire soundtrack is an absolute joy, especially its endless piano melodies.) One particularly beautiful minigame in City 5 had me use a flying drone to fill the inside of a tower with music, lights, disco balls and bubbles. I then got in a hot air balloon and flew upwards through the show I had created. It was like Willy Wonka meets Metropolis and a really nice play between game and cinematic moment. There are lots of nice bits like that in the game, where the plot recedes and you just stop and admire the lovely background.


Though the whole game is angular, the character models are in a particularly low-res, polygonal style that stands out against the crisp backgrounds. The intention here is to make you consider the uncanny valley that emerges when people become digitalised and the digital becomes humanised. The people feel imperfect and damaged, and that mirrors their plots. Each of the protagonists has been damaged in some irreparable way by a world where techno-capitalism is on steroids. Richard is a distant father and husband and generally a bit of a prick. Tracey is a pseudo-celebrity starlet. Lydia is an online sex worker, but where online means fully immersive augmented reality. The weird polygons, like the nightclub’s graffiti, succeed in showing us this damage, rather than telling us about it at length.

Another way the game (mostly) succeeds is with mini games and puzzles. State of Mind’s puzzles are usually simple, two step affairs – for example, you might rearrange augmented reality tiles around Richard to figure out a full scene. In another you sort through newspaper clippings to line up the right narrative. Sometimes you’ll use a drone to fly around and stalk people, or unlock doors that Richard can’t reach. Stalking people with drones is, of course, always a good buzz. The puzzles break up the conversation-heavy narrative, and can give you new perspectives on the world, like my lovely balloon ride – though, that said, in a game about the difficulty and ambiguity of solving technological mysteries, I could have handled much harder challenges, with more complicated steps.



All of this adds up to lots of small things that work really well and are memorable and worthwhile. It’s an extremely chill game, and walking around Berlin and City 5 is a rewarding and pleasant thing to do. Yet, contra to State of Mind’s excellent and discrete world building, and its litany of beautiful and subtle moments, the story is all kinds of batshit, and fails to focus the player on the key tropes and loops that make cyberpunk great.

It’s a real shame. If State of Mind was more minimalist in its plot, and focused on exploring and completing character arcs rather than absurd thought experiments, if it dealt with one or two of the themes of posthumanism, instead of six or seven all at once… we might have had something really special on our hands. Less, as always and never, is more. As it stands, this game is worth your while if you’re up for a lovely stroll around some dystopias whilst drinking tea. If that’s your jam (and for the most part it was my jam), go and play it. If you want more meat than jam then your next great hope might be to put on some Aphex Twin and hope that CD Projekt smash it out of the park.

State of Mind is out now for Windows, Mac OS X and Linux, via Steam and GOG, for £25.99/29.99€/$29.99
 
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Dodo1610

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I'm kinda sad that this will probably be their last game. I doubt they can survive a third poor selling game after Silence and The Pillars of the Earth.
 

Belegarsson

Think about hairy dwarfs all the time ( ͡° ͜ʖ ͡°)
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Steve gets a Kidney but I don't even get a tag.
Let's put a fucking robot revolution into the game and conveniently forget about it at the end, right?

The plot is a mess, storytelling is a mess, writing is a mess, pacing is a mess, and until now I'm still not sure what message the game was trying to deliver. We have good ol' cliché like amnesiac dude trying to find out about his past, robot starting to develop consciousness, human upload their self onto virtual reality but the tech also allows them to download it into another body in real life, some Skynet crap going on and the State of Mind people began transitioning to outer space... but the execution of these concepts is ruined by a lot of unorganized, illogical flashbacks and switching back n' forth between the protagonists. I also can't get over how the supposedly big reveals in the game have very little to no emotional impact due to NPC's stoic and mundane delivery, for example when the Breakpoint dude explained to Richard that this Alan dude is [REDACTED], his reaction is just "uh uh okay good to know o shit cops are shooting up the fuckin club kthxbye", there's even no dramatic music to drum up the intensity of that reveal. The dialogue is boring, cinematography is boring, characters' motivations are unclear, these cutscenes are just a chore to watch overall. The whole human conscious thingy at the end felt like the writers trying to amp up Blade Runner 2049 but thanks to the reveal being painfully predictable and Richard being a completely unsympathetic piece of shit, my giving a fuck o'meter remains under zero.

Bizzare atmosphere also didn't help. Here we have a dystopian city with slick, crispy aethestic, even dirty New York streets bear this unique flat material, but nice backdrop can't hide inexpressive character models. Their faces barely move, their body language in dialogue is incredibly limited, NPCs never walk around or conversate with each other. My most favorite location must be the Doomsday club's bathroom where a bunch of dudes standing in front of urinals and stare into whatever void exist in front of them.

State of Mind also has virtually no gameplay. You might argue "yeah they're imitating Telltale's movies" but thing is, Telltale's games at least have dialogue choices and QTE, they're interactive by nature even if player's railroaded for the entire game because you get to pick what to say in dialogue, they're also very good at balancing the amount of drama and high stakes. In State of Mind, dialogue choices are not really choices since they act more like questions in specific conversations, and obviously they don't shape the protagonists' personality. They also have no QTE which a lot of people will consider as a good thing, but to me, I prefer creative QTE over walking around mindlessly with shit tier movement and control scheme. Sometimes you control cameras and point them away from your path, sometimes you point laser to shoot drones, sometimes you switch characters for straightforward actions, there's a segment towards the end where you switch room layout to make a path which is probably the most creative thing they could come up with.

It has a cyber prositution scene if you're into that thing, the scene is pretty intense too, probably the only moment in the game where I actually gives a shit about a character in this game.

I'm not sure which crowd Deadalic wanted to chase after with this game. It's too banal and slow for the modern Telltale's audience, it's too easy, shallow and unimaginative for the classic Daedalic's audience, it's too cliché and mundane for the overall storyfag crowd, it's not edgy enough for the Tumblr crowd looking for the next Life is Strange wannabe. Hell State of Mind still paled compared to their two last "adventure games", Silence might be the beginning of their downfall but it has this mesmerizing innocent vibe that I couldn't help but adore, while The Pillars of The Earth despite being a mediocre experience all around stlil delivered a plot that never tried their best to confuse player. What makes this game stand out? Hearing Doug Cockle talking with Minecraft mouth movement I guess.
 
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Sòren

Arcane
Joined
Aug 18, 2009
Messages
2,350
u can get it for 2 bucks on GOG right now and i would recommend it. it's less of a game and more a visual novel, but the writing is pretty amazing from my perspective.
 

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