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amazon Return of the Obra Dinn reviews
According to the French philosopher Jacques Derrida, “deconstruction” is a method of verbal analysis by interpreting the relationship between the text itself and its true meaning. Because so many words are “distorted” if we change the context in which it is implied, interpreting words becomes a daunting task because of the general polymorphism of language. Language, Derrida argues, is made up of a system of signs and characters, possesses the meaning born of the contradiction between these signs, and the meaning does not depend entirely on each sign which is actually passed on to other signs. Your solution? Deepen the nature of the text, focus on the relationship between the signs of words and contexts, and use meaning expressed in various ways to change both context and word.
The irony is that Derrida does not consider “deconstruction” a method, because it does not operate mechanically, designed to cause the reader to automatically assign fixed criteria every time he reads the text and whether they satisfy the general “deconstruction” structure.
This is probably also the reason that most detective games have not revealed their strength in their design concepts. A good detective story does not consist solely of how the player takes up and uncovers the mystery set at the beginning and the end, but in the middle is a series of resolutions in which, the goal that needs to be expressed “property” is … context. A knife neatly placed on a kitchen rack was completely different from a blood-strewn knife that was thrown hastily in a vase, but the game of detective had to let the above two signs support each other’s natures should be too obvious?
How do you make a dull job of an insurance investigator special? Magic, literally! Because after all, a ship that had been mysteriously missing for four years suddenly appeared, without a shadow, without any sign of life, almost inviting anyone involved that it was not. There was nothing to hide, it could only be a sign of magic. The unfolding of the mysterious veil in your role as an investigator begins with a gameplay like the Obra Dinn ship’s condition.
First, Return of the Obra Dinn gives you the ability to “cheat” reality with a tool that plays the role of recording the plaintiff’s testimony – the defendant: a pocket watch engraved with a skull. Each time it is activated before each skeleton is “illuminated” with a stream of sunlight, the clock counts down to a moment just seconds before the death of the skeleton’s owner. Conversations, sometimes disturbed by a lot of harsh sounds in the environment, are visible in the middle of the smooth screen to distract you from progress that you are immediately seen in person. Scenes in which things are still motionless always begin and follow through with bad things, but in the end, your job here is not to show sympathy to anyone.
And what a mesmerizing uncertainty! Return of the Obra Dinn’s non-linear script choreography gives these static scenes that players are free to explore with the naked eye, not only confusing the necessary information that must be chained, but also creates an atmosphere of chaos that is characterized by human actions when their lives are threatened. They were cut in half, burned to death, ate a few pierced javelins, or worse, had their skulls broken by the mast. The way the deaths are described is no different from a Final Destination episode made by art filmmakers with a sarcastic connotation of luck, sometimes even making us say, “that’s not fair! “.
Once you’ve spent enough time “gazing at” these unlucky lives, it’s time for a second tool to do your bidding: a cursed cruise division book by the Obra Dinn into many empty chapters waiting for you to fill 10 chapters, 60 lives, but there are only two questions for you: who are they, and what is their fate? And this is where the game in Return of the Obra Dinn begins.
This four-story ship is not merely a place for the clues you need to dissect, but also a means of “harboring” suspicious connections that can only be cleared visually, intuition, hearing, and guessing. Each time the game asks “who are they?” For you, you almost always have to ask yourself new questions: the character you just witnessed “dying”, has anyone mentioned their name before? Did they mention anyone close to whom they could help me reverse their identities? Are their names engraved or recorded somewhere? Names are so wonderful, they give each person a strange identity when it comes to recognizing a person by just one or a few syllables.
Referring to the syllable, the voice also clearly separates human identity like the name. A strange accent or just a simple address will help you easily judge who they are based on their nationality. When it comes to nationality, sometimes people from countries with distinct cultures will reveal that trait directly through the way they dress. Referring to the attire, crew members with equal roles can of course be identified based on their uniforms. Referring to people in the same role, each crew member has a different role and you can sometimes specify who they are based on where they frequent come…
For the sake of both sides, I will not list all the “judgments” in Return of the Obra Dinn, because there are very few words that can be used to describe extreme ingenuity in how the content is arranged associated with the gameplay of the game. This is a game that begins in chapter … 9 and reverses its events in Slaughterhouse-Five style, but it is this way of reversing the order of developments that gives the game more opportunities to hide clues. through a myriad of different factors: context, time of death, sounds, relationships, sometimes even ordinary objects, to the exclusion. It is a way to scramble information and distract the player with a very familiar criterion: the answer is always right in front of your eyes, and whether or not they can be found is based on your judgment.
The way of constructing the concept of resolution in the investigation of Return of the Obra Dinn is almost a stark contrast to the detective games so far. It does not give you a series of questions for the defendant or target to be questioned, but merely leaves you free to find clues based on the context; it just asks you to find the source of death, not in detail like “why did A kill B?” or “What part of the body does C shoot D with his gun?”. In this way, Return of the Obra Dinn allows the player to act as a true investigator with perfectly concealed linearity.
And it is also very skillful in anticipating the moves that players can think of during the game. With an endless list of identities, portraits, and reasons for death, the ability to guess by trying all available game options without going through exclusion is impossible. Besides, the game will only show that your conclusion is correct for each of the three identified identities.
8 hours spent for Return of the Obra Dinn made me realize I was really bad at reasoning logic by missing half the list of crew members with idle identities. But you don’t have to be a bright soul with the same mentality as Hercule Poirot to fill the empty pages of Obra Dinn’s itinerary, simply because the game is extremely respectful of the player’s intuition and never make you “scratch your hair” by countless links that dominate every scene.
Finally, Return of the Obra Dinn is a screen containing the bitter truth that human lives are cheap. The melancholy, bleak, and dangerous tone, chorished by the arrogant and majestic fiddle melodies does not give you enough time to mourn anyone. That is because the past is forever uncertain.
where can you get a Return of the Obra Dinn online
Return of the Obra Dinn for Nintendo Switch (Limited Run Games #78): Buy it now
Return of the Obra Dinn (Limited Run #355) – PlayStation 4: Buy it now