Roots of Insanity

Riley McClein is a young doctor who works at August Valentine Hospital. As in every turn of his night – this time strangely quieter than usual – his only desire is not to be prey to one of the epileptic attacks that torment him all his life. His mother died of bra

in cancer in that hospital, and after trauma, Riley has barely managed to recover and return to everyday life. That place, for the protagonist, has become its real home.

Roots of Insanity ‘s incipit is all here: stringy, essential and accompanying at the opening of the game, which immediately sees Riley investigate the unexpected quiet surrounding the building.

They do not even pass a couple of minutes before meeting the first victim: Gloria, the nurse, who was carrying disturbing video rec

ordings that should have been brought to the police immediately. Getting out of the hospital, however, will prove to be more complicated than usual, especially because discerning reality from continuous hallucinations is for your alter ego a complex operation. It is also a fundamental element on which the whole game is based and, in the first phase, seems to provid

e some interesting insights.

However, this dualism does not work as it should: the atmosphere is badly built, everything is overly phoned and ineffective, and clichés are never to wait. So there is a clear feeling that the inspiration has come to an end where

it was strictly necessary, and although some time remains well orchestrated and some (unnecessary) scarejump are present during the adventure, the end result does not work, even for reasons linked to the control system and the serious combat system problems that do not give any great satisfaction. They do not help, in essence, to dive into Roots of Insanity , which in spite of a fair story has little to brag about.

The game points out from the outset that you are a doctor and as such you do not have a military training to properly defend yourself from the zombies. This, however, does not justify the gross programming mistakes that are reflected in monkey animations, lack of feedback when striking enemies, busted hitboxes, and a general sense of inadequacy far beyond

the capability of the protagonist. Consider, in fact, that stretching with a normal cutting weapon is too short, animations have no connection and become concrete in less-than-mentioned and never complete movements (kicking an enemy on the ground is an action that is revealed with a species of a few centimeters bow arches), forcing the player to approach all-encompassed foes with predictable behavioral routines. Some are slower, others a

re faster and aggressive, and when they attack you there is no way to figure out how much health has remained; therefore, you may suddenly die during a battle without you noticing it, with good peace of mind paying attention to your own play. The screen actually gets dirty when you’re in danger, but during the clashes you happen to be seldom and you’ll feel like playing “rock, paper, scissors”: you hit them, hit them, and somebody will eventually fall to the carpet. suddenly during a battle without you noticing it, with good peace of mind who pays attention to your own play.

The screen actually gets dirty when you’re in danger, but during the clashes you happen to be seldom and you’ll feel like playing “rock, paper, scissors”: you hit them, hit them, and somebody will eventually fall to the carpet. suddenly during a battle without you noticing it, with good peace of mind who pays attention to your own play. The screen actually gets dirty when you’re in danger

, but during the clashes you happen to be seldom and you’ll feel like playing “rock, paper, scissors”: you hit them, hit them, and somebody will eventually fall to the carpet.Moreover, there is almost no way to avoid confrontation and escape, because Roots of Insanity is often structured as a watertight compartment and if you have not fir