![]() I liked the social/political aspect of the game, where it tries to show how society can position itself (or even mobilize) in reaction to change and how different voices would speak different opinions, according to their beliefs. I've enjoyed the religious and mythological component of Athena / Founder. The ambition is much greater here and as Straton extends his principle, the way to show that moves from a single being to a society - and it's an enormous challenge to convey all those different stances in one game. Don't get me wrong, there's a lot of fantastic content in it still. ![]() I'm somewhat disappointed to discover that new game doesn't exactly follow the same qualities, sadly. This contradiction was a source of frustration for Milton, who couldn't find a pattern to humanity, which eventually left him a cynic and solipsist/nihillist. At the same time, the game was very adamant that it doesn't want to impose any kind of particular view on the player, but rather it wants to present them and let player navigate in this on their own. There was a lot of subtlety scattered all over, there were layers on layers and it was up to the player to decide how they want to tackle and which layers they're interested in. The interconnection of all these elements was what made Talos Principle so good. Everything was slowly but steadily built towards something big and the (main) ending felt well-earned, proper and natural, giving the player sense of accomplishment, pride, something profound even. Even Elohim eventually turned out to be flawed and very human (the hidden room where Elohim reassures himself is one of the greatest and strongest scenes in games). ![]() They could engage Milton in convoluted conversations, they could hear the distant voice of Alexandra and really feel a genuine connection to that human being and her work. It allowed players to slowly peel the onion and understand more about the world they were in. The writing was top notch and the story arc was exactly as it should be. I think it was brilliantly done and it hit the mark on all the levels. This part I feel was truly genius in TP1 and I absolutely love everything about it, from Elohim to Milton, from QR codes to terminal content, from Alexandra Drennan's vision to my own understanding and decisions on what humanity means to me, as a player. I didn't like the new "stars", as I feel they've robbed the player out of the sense of discovery and exploration, although I can understand why they were so strongly streamlined and codified (more on that later).īut above everything else, I was in it for the intellectual and emotional part. I liked all the puzzles and their new, streamlined formula. My setup is quite old (don't even have an RTX GPU), I've played mostly on "high" settings, never had any crashes, though there were some minor glitches like wrong camera angle for animation, falling through the world or the game getting stuck here or there. I honestly don't care that much about the graphic part of it, it was never very important, although it sure is nice to experience those stunning, big, ambitious areas. I'm not who you would call a "young generation" player. I've even travelled to to Pompei and Ostia, for obvious reasons. I believe Talos Principle to be one of the most important (if not the most) video game of the past decade and it is very dear to me. I've chosen the hopeful future with the machine in it. Melville and Yaqut were with me to the very end. I've entered the Somnodrome and followed the Byron path. ![]() I've finished Talos Principle 2 with 100% on everything, puzzles, sparks, artifacts, notes, audiologs etc. I've finished Talos Principle 1 and Gehenna on 100%, when they were released. WARNING: MAJOR SPOILERS ACROSS THE WHOLE POST, READ ONLY AFTER YOU'VE FINISHED THE GAME. ![]()
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