We can understand that a patch to a game not designed for VR loses the necessary polish, but when we have a game completely built around this type of experience, it is surprising that we suffer from these virtual dizzy spells. The cause? The horizonta
l rotation with a pad . Turning a character on itself while your head is still is a completely unnatural movement, and something your stom
ach will do badly. We still have to confirm one hundred percent if there are games capable of avoiding the dizziness produced by the second stick (some demonstrations that we have tried did not make us so dizzy), but for the moment the best way to face a first-person title is still the to be completely immobile or in a cockpit.
Fated provides alternative control , because he is aware of this problem. It’s about turning (through a cut) your view of thirty in thirty degrees. As if you turned your head quickly and then stopped it. When producing the cut, the dizziness caused by t
he movement is eliminated and the experience becomes much more relaxed and tolerable. Again, the way to reduce these effects when we are in motion is for our character to walk at a snail’s pace, something that can sometimes exasperate the rhythm of the story.
It is important to highlight these aspects because they are intrinsic to virtual technology and the most crucial step for developers when facing this type of development, where it is not worth copying the formulas that the game has established in all its three-dim
ensional world years. Fated deals with these aspects sometimes with success, sometimes with hasty solutions. You can see, in fact, the lack of implementation of Rift’s own controls or Vive for the contextual actions that we can do, which we try to impersonate with the Xbox One control triggers, in a rather rough way.
The story is developed with interest, although as the studies focused on virtual reality developments seem to be getting used to, it is short
Neither matters much, since Fated is not a game centered on mechanics. It is the walking simulator brought to the VR, only that something more guided with few freedoms and a rather slow pace. The idea, however, is interesting. A world fu
That’s right, in Fated you try to explain the reason that our character is mute , really snatching your voice at the beginning of the adventure and taking advantage of the movements of affirmation and denial with your head to interact with y
our characters. The story is developed with interest, although as the studies focused on virtual reality developments seem to be getting used to, it is short. Specifically two hours to finish and taking into account that, as we say, the step of our protagonist is n
ot the most rushed. A rather abrupt ending seems to hint at a possible development by chapters, which would make it the most expensive episodic game in history.
Along the way, we will make use of an arc , we will solve simple puzzles and we will have the odd scene with action, which beyon
d impressing by its invoice, does so by the accompaniment of virtual reality glasses, in an environment that although not is nothing that is not completely overcome, it does denote a certain artistic style made with care and care.
Unfortunately, little else can be said about Fated: The Silent Oath. It is a title that is halfway between the experience and the video game.
Not because of its walking simulator, but because it does not push its qualities beyond what is minimally acceptable, something that, for the moment, seems to be a constant in VR games.