![]() You’ll also hear the stuttering, phase-shifting voice of the AI herself, as she taunts and belittles you over the station’s voice-comms. As you explore, audio logs you pluck from the environment construct a grim timeline of events, with the crew variously discussing the mundane operation of the station, breathlessly devising strategies to defeat Shodan in the wake of the disaster and tearfully saying goodbye to loved ones as the cyborgs close in for the kill. What mutant two-dimensional sprites lack in creepy kinetic fluidity, they more than make up for in jerking, twitching freakishness-like the stop-motion surreality of a Quay Brothers film, and just as indelible.It’s a straightforward disaster story, but one rendered chillingly believable through its delivery. I still have nightmares about supervillain SHODAN's chimerical trans-human horrors, by the way. And then you had its inspired, completely unexpected take on cyberspace: convoluted digital chutes you zipped along like surfing wireframe waterslides, trying to solve quirky geometric puzzles. You had all that self-augmentation bizarreness, like the implants that let you do indoor barrel rolls, a flight-sim-inspired premise based on actual rules of inertia (indoor physics!). Its lack of realtime light sourcing gave it a perpetually dim, 1970s sci-fi flick ambience that ironically complemented its simple but grim 256-color palette. Glowing wall panels were stippled with crisscross patterns that shimmered parabolically as your perspective changed (an aesthetic unto itself that I miss sometimes). ![]() The game had a fascinating pre-Apple-Store-sterile visual vibe, too.
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