I'm not saying she's supposed to be bad, but maybe do something where you have the best intentions in the world, but use the wrong means. She doesn't even have the limit of tone of voice: she doesn't speak, if she writes normally she can manipulate in his own way. Otherwise she's a mute protagonist, but you could give her with details a personality that wasn't "foolishly good." For example, for some twist spree it would have been nice if she wrote things you didn't really think. I liked that she was a "beating", quite "violent", somewhat, very pretty peculiarity, if only she was not completely replaced by Apollo in the second chapter. Now let's do one thing: let's take a magnifying glass and look at some points up close.īland. Since his arc began, it's only been a little more to fall into the mundane. Here, too, you will find an in-depth look when there are the various re-writing proposals. We'll talk about this together with the interweaving-gameplay approach.ĭiana's whole arc, from start to finish. The (false, at the end of the day) tension given by the limited time. Meeting with co-protagonist (Neil) on the train Come on! :(Īfter that cutscene we immediately guessed and got most of the narrative dynamics: You made us think well to the end! The whole first cutscene in the train. In Rome it is said: "Mortacci tua", in these cases. I mean, some of the potential was already lost here. It has become a classic "adventure" plot with rather ragged maps, with the buildings to explore, many clichés of the case. Not yet.īut they made the film, the point is that in our opinion you could make much better use of a situation of perpetual suspense, claustrophobia and at the same time the idea of being trapped in a golden cage (we loved the train maps, indeed reminded us even titles like "Professor Layton and Pandora's Box", so congratulations on this ). We've had numerous changes in our expectations on this game.Īt first the vibe suggests a more investigative title, with a quite narrow "field of action": focus on the events of a few characters and as the main place the train.Įver read, for example, Murder on the Orient Express? We don't. There's a problem at the base: we don't understand how Lewin managed to write a story based on Aria's exploration, and especially to be there with her when Aria was behaving like a human being: in theory, according to logic, if Lewin doesn't write, Aria vanishes or she's standing still, no action has been written to her.īut leaving out Aria, let's talk about Midnight Train because we think this has more potential and that you own all the cards on the table to bring something fresh into the RPG Horror community. We don't review Aria's Story (which has just 0 "story" - we're allowing ourselves to use such acidic tones because we've noticed that you want to do a reboot, and this would be a bad way to encourage you to work better on the script). We are two partykillers who as players would like to review the first two chapters of this game. Let's hope everything's going well for development. PS Sometimes during the review, we switched, and you could read some points in first person.
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