It points to the undisguised understanding of our understanding, doubt, the difficulty of interpreting what we really have before our eyes, be
cause the same developers are aiming to conceal what is actually revealed. Our first question is right where we find it, but immediately the question goes back to us, like a boomerang, because what we see is what we want to understa
nd. So our protagonist becomes a sort of prosthesis of our eyes and his distorted world, made of dimensional travel through the photographs, turns into a real adventure in a dream world, made of incredibly borderline characters, traveling to the limit of human condition. Everything is to be discovered and everything is to be analyzed, up to the end of our gameplay time, to a rev
ealing scene that will lead us through the rooms of a large apartment, walking on bricks that will form together with our memories. All scen
es that evoke a dimension that goes to form together with our memory, because ours never remembers who it is and why it is in that structure. Soon, however, a voice will begin to talk to him: he identifies himself as Red and does not only have a male tone, but also a female one. Red is all, but more than anything else is the person who guides us in our miss
ion, forcing us to infiltrate us in some breasts to recover what he needs. In a sort of mental puzzle, among the meanders of our brain and blurred images, ideas in favor of walking on bricks that will form along with our memories. All scenes that evoke a dimension that goes to form together with our memory, because ours never remembers who it is and why it is in that structure. Soon, however, a voice will begin to talk to him: he identifies himself as Red and does not only have a m
ale tone, but also a female one. Red is all, but more than anything else is the person who guides us in our mission, forcing us to infiltrate us in some breasts to recover what he needs. In a sort of mental puzzle, among the meanders of our brain and blurred images, ideas in favor of walking on bricks that will form along with our memories. All scenes that evoke a dimension that goes to f
orm together with our memory, because ours never remembers who it is and why it is in that structure. Soon, however, a voice will begin to talk to him: he identifies himself as Red and does not only have a male tone, but also a female one. Red is all, but
more than anything else is the person who guides us in our mission, forcing us to infiltrate us in some breasts to recover what he needs. In a sort of mental puzzle, among the meanders of our brain and blurred images, ideas in favor of
Soon, however, a voice will begin to talk to him: he identifies himself as Red and does not only have a male tone, but also a female one. Red is all, but more than anything else is the person who guides us in our mission, forcing us to infiltrate us in some breasts to recover what he needs. In a sort of mental puzzle, among the meanders of our brain and blurred images, ideas in favor o
f Soon, however, a voice will begin to talk to him: he identifies himself as Red and does not only have a male tone, but also a female one. Red is all, but more than anything else is the person who guides us in our mission, forcing us to infiltrate us in some breasts to recover
what he needs. In a sort of mental puzzle, among the meanders of our brain and blurred images, ideas in favor ofGet Even are colorful, although some are spoiled by a not always optimal yield. Cornergun Among the first great ideas we want to give to Get Even developers
there is the cornergun, a gun that, as the same name suggests, allows us, once hidden behind a wall, to aim left or right using a ninety-degree angle to shoot. Though gameplay is concerned, this gimmick can solve many complex situations, especially as our prota
gonist does not have a health bar and is not very resistant to adversary bullets, it is the yield that has made us extremely uncomfortable: d Moreover, the screen on which the image of what is in the direction we are pointing to was visibly of low quality, with a very low framerate. It goes without saying that if from the point of view of the gameplay we were hit,
at first, by the cornergun was the ‘ eye to push us to immediately change the idea of what has come before us. In any case, using this weapon in the early stages of the game proved to be fairly valid, butGet Even , for what we wanted to mean,
does not come to the audience as a fps, but more like an adventure game seasoned with some shooting element, as we said at the opening of the article. The exploration, moreover, has brought us to know more about the structure in which we have suddenly found ourselves, this asylum with strange characters, which can also give rise to patchwork bifurcation. In this Get Even,in fact, gave us more impression of having a subtle reality of consequences, because the developers themselves have q
uestioned us about what had happened in the first hour of play to understand what decisions we had taken. We understood that the character we renamed the Cappellaio Matto – nomenclature not displeased with the development team – cou
ld have suffered much harder violence than our bad words turned from behind a glass plate: its presence, however, was the parent of all the environmental puzzles that we had to solve. Among them the identification of a hidden code to access a room: equi
pped with a night viewer we were able to find figures and symbols in all the rooms of the location we were in, which united or proposed anyway in a proper way allowed us to access the next location. The pursuit in our adventure has been repeatedly conditioned b
y these gimmicks, sometimes pushing us to dress up the plumber to guess which water valve to close or even a simple mechanical to repel air jets that we prevented the passage: nothing overly complex but making the adventure more dynamic, otherwise conditioned by the only need to shoot.
