Where the Water Tastes Like Wine

I feel really bad for giving this one a bad review, because the aesthetic is so gorgeous and the concept is so compelling, but this game is poorly executed. The art, voice acting and soundtrack are well done, however the game-part-of-the-game really holds it back. I love visual novels, especially ones like this, and it has a good enough story. However, you have to wait a long time to get these story nuggets, and I'm not sure if they're worth it. Most of the time you are traversing the map as a very slow-walking skeleton, paying a poker debt to Dire Wolf. This model moves infuriatingly slow, and I wonder if it's like that in order to pad out game time. The map is also very buggy and laggy, and I couldn't quite work out how to use the whistling mechanic, and, while hitchhiking, no one ever picked me up. You get to explore all of America from the very beginning, which is great, but the catch is that the map is mostly empty, leading to a lot of repetition. The stories system - the real meat of the game - can be very confusing at times, and it's dubious what category (thrilling, tragic, scary, etc.) a lot of stories fall under. Sometimes a wrong choice set me backtracking for 15+ minutes. Also, if you're a completionist, don't bother with this one - it's impossible to 100%. The developer is the only one who legitimately has the final achievement, and yes, it's intentional. Not cool. Overall I just wish this game should've stuck to being a visual novel or walking simulator, not a boring hybrid. Sorry, but I just couldn't bring myself to finish this one. 

Genre: Rollemore than RPG. In recent years, the aspects inherent in the RPG, formalized to the limit. GG or team, using the rules of battle and development of himself, loved, moves on story to save the world by yourself, loved ones. And, as the number of games is growing (and the quality of them, as a consequence, falls), a huge number of weak RPG-like products have exposed the schematiousness of the Main Question RPG: On the Devil to the rules of combat and development each time to twist the story of saving the world (with That, the ears, for which the plot is drawn to the combat mechanics, are often fastened with poor quality duct tape and only a few, and the most unexpected places). Imagine "Chess with elements of RPG". I can still afford to increase the mobility of the horse depending on the number of pieces he cut (that is, the experience), as the "vanilla" rules allow the lead-up at the passing pawn, but I can not accept the "plot component". Imagine that you started a gambit by donating a pawn in order to attack. But, starting the attack, you face a strange thing: your Queen goes to a scripted cage, the board covers the fog of war, and from all five columns there is a grave voice with a claim to the narrative, informing the players that the Orcs have already crossed the river Thames and The Queen of the Elves of Vermicelli needs your presence in Edinburgh. After that fog of war dissipates, the position on the board does not resemble the former, and the joy of getting "Laura" is overshadowed by the resentment of the loss of pawn and position. As a development of the idea I want to offer developers, addicted to plot twists, In the middle of the game script scene to chop hands pumped warrior. Let it be a magician now. And the Magu, on the contrary, to sew up a mouth. The Person should develop comprehensively, the expert is similar to a flux, yes. Fortunately, the law of transition quality in quantity has done the trick, and on light began to appear games, consisting either only from a part "about to think and fight" (that, certainly, happened before, but masterpieces like "Grirok-2" set a completely new frame of reference), Or games that have no arithmetic aspect at all. For me the first swallow was "This War Is Mine" (although you can recall "Mor. Utopia "). Despite the lack of classes, the development of characters and other elements of permanent mandatory tug-of-war, usually implemented in the form of mordotium or shootings, they seem to me more role-playing than RPG, the following canons. So It is to these "erpageshnym non-RPG" and the sabre. What is going on. Oh, where are you, brother-2. GG, who lost his flesh and fate to some Specialist, is going to collect the history of the US in 1930 (to collect the history of all the USA, because, as his employer says, at the moment from the little deceitful stories created a big lie-History) to the music Somewhere between country and alt-country (that is, there is no more vile sound banjo, but still there is no postpankovskih anguish and horror)-when the hero goes on agrarian areas, and Bibop with Ragtayami-when it goes on the industrial. History is both a goal and a currency used to obtain a Superior. The Process of getting these stories-a series of dichotomy elections a la Banner Saga, that is, acting and choosing, the hero determines what the story appears in his luggage. The Hero can occasionally use special items, catch a ride and, whistling, go on the road. This proximity to the road-muvi and the very atmosphere of the 30th game I was very reminded "Oh, where are you, brother" Cohen: hardly anyone will turn into a frog your visavi, but there are always listeners, ready to believe it. Though, probably, it is necessary to stipulate that these 30-th years or some collective (in them there are veterans of civil war, Bitniki and hippies), or from some alternative history: many animals are able to speak and pay cash, people from Cars kidnap deserted lights, etc. About the implementation: The Original text is very on the level (I'm a snob speaking), Russian perverd sometimes gets to the very essence, sometimes misses not only past the arts, but also past the meaning, and even syntax, here as lucky (compare the American voice with Russian text). Drawn 2d, is thrown when interacting with objects/characters is a bit reminiscent of the style of the graphics "Darkest dungeon". Funny, but low-tech 3d, in which we travel the world (available "surface" of the USA), for the moment I think the only drawback. The game Has a number of unusual features:-It is stylish in everything-in the text, music, graphics, despite the fact that this is the debut of a young studio. "She is impertinent in her identity and so unlike anything else, that it was necessary to have a great deal of courage to invest in it work, time and money and bring it to the state of the goods. -It is positioned as a low-budget, but the main character is voiced by Sting, and the soundtrack to her wrote a fashion composer. On the Basis of which I personally assume that it is created by people known in some field of art or culture (in this case blurred).