The Turing Test is a first-person puzzle game developed and published by BULKHEAD. You are awakened abruptly from cryo-sleep in orbit above Europa. Tasked with finding the rest of the missing crew, you fly to Europa’s surface to investigate. Once there, you find a series of puzzle rooms designed to prevent robots from advancing into the base as well as the corpses of some of your friends. Can you find everyone else before it is too late? And what is the helpful AI TOM hiding?
In The Turing Test, you play as Engineer Ava Turing, who must use her Energy Manipulation Tool to solve puzzles. By solving puzzles you advance through the base as well as the narrative. Each puzzle is positioned as a ‘Turing Test’, serving as a logic challenge that an artificial intelligence would be unable to solve. Gameplay wise, the puzzles revolved around energy orbs that can be shot or sucked up by your Energy Manipulation Tool. They are used to power on machines that help you reach the desired platform and open the locked door. While you solve the puzzles, TOM, your AI companion gives you lore about what has happened as well as philosophical musings on humanity and biological thinking.
As a story experience, The Turing Test is quite enjoyable. I especially love the set-piecing and visuals for the areas outside the puzzle rooms. One of the first scenes where you land a small space shuttle on Europa from the orbiting station, was one of the most creative and interesting sequences of space flight that I’ve seen. While you don’t have control of what’s going on, the visual world building and storytelling was really impressive. The puzzles also had an interesting spin to them in terms of their in-world functions and mechanics, which I think some puzzle games struggle with.
I have seen The Turing Test compared to Portal, and I think that is an apt comparison. The design definitely seems inspired by the Portal experience, though with a more serious tone. It is a first-person puzzle game, with the main puzzle mechanic involving shooting orbs around sterile, testing rooms. Once again, the comparison makes sense. However, the concept executes less successfully than Portal.
While relatively novel, the puzzles are repetitive. And often boring. The rooms felt unimaginative, especially compared to the intriguing rooms placed in between different chunks of levels. The puzzles weren’t especially hard but could feel tedious. When they are so similar to each other, it also decreased my patience. It sucked to walk into a series of ten puzzle rooms and feel like half of them were more or less the same puzzle.
However, one of my biggest issues was this is one of the first non-VR games that made me nauseous. I had to stop after about 2.5 hours (halfway through the game) because the game was making me unwell. Almost every room had multiple flashing lights, which usually don’t bother me. However, the way the character moved and looked around contributed to the sickly feeling. Additionally, there was a near constant buzzing noise of the energy particles and doors opening and closing rhythmically. I had to play in thirty minute chunks to reduce my nausea, but I decided it just wasn’t worth finishing for me.
Overall, I can see why people like The Turing Test. It has a strong narrative and unique puzzle system. However, it was not a good game for me. I also found the price point of $20 on Steam to be high for a game with a playtime of around 6 hours and so many sensory issues. If you like puzzle games and aren’t bothered by flashing lights or repetitive sounds you will probably like the game. You just might want to wait for a sale! (2.9 / 5)
Review: A Plague Tale series
Asobo Studios A Plague Tale series consisting of Innocence (2019) and Requiem (2022) has been out for a while. Weirdly enough, I struggled to put my thoughts into words about these games until now. The way I see it, it’s impossible to talk about one without the other, so let’s dive in, shall we?
Plot and characters
The story of A Plague Tale games takes loose inspiration from the Black Plague times with a touch of the Hundred Years’ War. Amicia and Hugo are siblings on the run from soldiers while also fighting off infected rats, meeting allies along the way. A huge theme of Innocence is Amicia finding a solution for Hugo’s long-term sickness. As one would suspect, it turns out to be connected to the plague itself. Amicia also goes from being a disconnected older sister to his biggest protector throughout the game.
Hugo himself is more or less an annoying kid who wants his mother. This is frankly a realistic characterization as he actually speaks and acts as a child would act. Granted, him essentially walking into the Pope’s trap is frustrating but the climax needed to be set up somehow. I also enjoyed Lucas’s character as an alchemist apprentice as he proved to be one of the more consistent helpers to the duo.
While Innocence ends on a hopeful note, with the characters on the verge of starting over somewhere new and the plague contained, Requiem shows this was a fake out. The sequel really puts Amicia through her paces. Her character is broken both physically and mentally to the point where she is barely recognizable. Hugo is more mature, although his insistence on this magical island that will fix the Macula issue is an immediate red flag. It’s not surprising the supposed safe haven turns into hell quite quickly.
The generational curse where the protector and carrier story repeats itself means a tragic ending for our protagonists. This means it can feel fruitless to play the two installments as the whole point of Amecia’s journey is to protect Hugo at all costs, which proves to be impossible. Was it because of certain choices they made or just extremely unfortunate circumstances? Either way, I felt horrible for them both while playing Requiem, so at least it invoked a strong emotion in me.
The series is a third-person stealth adventure with survival horror elements. Innocence has a clear-cut mechanic that relies on Amicia sneaking past or distracting threats with a certain number of puzzles to get past the rats. She is also extremely vulnerable, dying from one enemy hit, forcing the player to start all over. This is something Requiem updates, adding the opportunity for you to recover by running away from the enemy.
It can be frustrating to have to restart a whole section because of one mistake. However, it does make the player think methodically about what the best approach is. I found the challenges a tad repetitive which stopped me from binge-playing the game, but that’s just my opinion.
After taking this time to digest my feelings towards A Plague Tale games, I can still vouch for the amazing experience. The historical aspects are endearing, and the graphics are beautiful, as is the score. The scriptwriters knew what kind of emotional punches would hit the players just right and the voice actors really gave it all. It’s obvious a lot of love went into this project and I am grateful to have played it.
Regardless, there were certain aspects of the story that for me personally, did not sit right. I am not a massive fan of a tragedy that ends, well, in tragedy, especially with hints history will repeat itself again. The entire concept of the ‘greater good’ and the main characters sacrificing their happiness has been done before and while I can understand why they went that way, it also left me feeling a bit empty.
(4 / 5)
The Last of Us: Episode 7: Left Behind
The Last of Us series is winding down with only three episodes left. Directed by Liza Johnson and written by Neil Druckmann, “Left Behind” adapts the video game’s DLC story of the same name. Ellie and Joel are hiding out in a basement, and Joel is suffering greatly from his stabbing. He orders Ellie to go back to Tommy and leave him behind, but she’s reluctant. The episode cuts to a flashback of the events that happened before Ellie and Joel met, thus beginning the sweet, tragic backstory of our young protagonist.
Ellie is stuck in a FEDRA boarding school in Boston. Her best friend and roommate, Riley, ran away a few weeks back and Ellie has been grieving the loss. She gets into fights with classmates and even sends one girl to the infirmary to get 15 stitches. Everything changes when Riley suddenly returns and reveals she joined the Fireflies, the organization FEDRA is training students to fight and kill.
Ellie disapproves of her friend’s choices, but there isn’t anything she can say that will change Riley’s mind. However, as a sort of apology for leaving without saying goodbye, Riley asks Ellie to sneak out for a few hours and join her on a little adventure. Ellie reluctantly agrees.
The two sneak into an abandoned mall that was once used to hoard infected. Now it is filled with wonders and surprises beyond the youths’ wildest dreams. The girls connect like they haven’t been separated for weeks, and their chemistry is sweet and wholesome. Riley gives Ellie an array of gifts, from a photo booth and carousel ride to an arcade with Mortal Kombat and a brand new pun book.
All Good Things End
The evening comes to a halt when Riley reveals the Fireflies are sending her to the Atlanta base and this is her last night in Boston. Ellie is furious and runs away, fully intended on returning back to her dorm room. But she only gets so far before caving into her feelings and running back to Riley. They reunite in a Halloween store, where they wear goofy wolf and clown masks (replicas of the game’s masks) and dance to Etta James’ “I Got You Babe.” They share a kiss and the moment is so delicate.
Everything is perfect until it’s not.
An infected emerges into the store and attacks the girls. Riley shoots it and Ellie stabs it to death, but neither are unscathed. The clicker bit both of them. At the moment, any and all hope has been destroyed.
HBO’s “Left Behind” is the show’s truest adaptation of the video game thus far. The show cuts out the parts of the video game where Ellie roams through a mall and evades hunters as she searches for a first aid kit for Joel. Instead, The Last of Us focuses on Ellie’s history with her best friend and first love, Riley.
Just as Bella Ramsey is the perfect casting for Ellie, Storm Reid is perfect as Riley. The actors’ chemistry maintains the game’s charm; their portrayal of teenagers after an apocalyptic pandemic is pure and authentic. For the first time, Ellie and Riley can act like the kids they are, not the soldiers every adult is training them to be. It is endearing to see their relationship come to life.
Ellie’s backstory mirrors Joel’s in that it emphasizes their experiences of loss and grief. The pair have formed a connection they cannot lose. It is because of this that, at the end of “Left Behind,” Ellie goes against Joel’s wishes and stays with him to help him heal. She had to leave one friend behind before and she refuses to do it again.
“Left Behind” deserves five out of five Cthulhu. (5 / 5)
There are only just a few episodes left in The Last of Us. Episode 8 releases Sunday, March 5, where we should expect to meet the notorious cult leader, Dave. Until then, check out the other shows and games we’re loving here at HauntedMTL.
The Last of Us: Episode 6: Kin
Joel reunites with Tommy in The Last of Us‘ sixth episode, “Kin.” It was written by Craig Mazin and directed by Jasmila Žbanić, who take us to Jackson, Wyoming, a town with electricity, hot water and community. It’s a reality that feels like a dream. After worrying so long about where Tommy was, it turns out he is in better shape than Joel could have ever imagined.
It’s been a few months since Henry and Sam’s deaths, and Joel and Ellie have finally reached Tommy’s rumored location. But it’s not just Tommy who’s doing well for himself; his younger brother has a new wife, Maria (Rutina Wesley). Together they help run the whole town, taking turns doing patrol and other maintenance that keeps the town running. The Last of Us‘ set design of Jackson is akin to the second video game; in the first game, Tommy and Maria were still working on the getting the town running and nowhere near as accomplished. This minor adjustment adds a new immersive experience to the show, and emphasizes Joel’s qualms about how competent he is to take care of Ellie.
While Joel and Tommy reconnect, Maria brings Ellie into her home and let’s her take a shower and gives her a brand new period cup as a present. It is with Maria that Ellie discovers Joel had a daughter who died at the beginning of the outbreak in 2003.
Joel and Tommy reconnect in a bar, where Joel begins to wonder if Ellie would be better off finishing the route with Tommy in his place. Joel confesses that Ellie is immune and needs to reach a medical center in Colorado. Joel recounts everything he’s done wrong, how he’s not equip to take Ellie any further and protect her. He asks Tommy to do the journey for him, but Maria is pregnant and Tommy is reluctant to take such a drastic risk. After more pleading, Joel finally convinces Tommy to take Ellie. A new plan is set for the next day.
Ellie, however, overheard this conversation between the two brothers and is disappointed with Joel. He’s the only person he trusts, and he betrayed her. Ellie argues that she “is not Sarah,” to which Joel counters, “I sure as hell ain’t your dad.” Whether she likes it or not, she’s going with Tommy.
The next morning, Ellie sits in her bedroom and is greeted with disappointment when Tommy opens the door and asks if she’s ready to leave. She reluctantly says yes, and they head to the stables where Joel is prepping a horse. He tells Ellie that she should have a decision in the matter, and she immediately chooses Joel. They move forward to Colorado.
The duo eventually reaches an abandoned university in Colorado and discover the Fireflies are now located at a medical center in Utah. Suddenly, an ambush hits. Joel and Ellie are able to fight their attackers off, but one manages to stab Joel in the stomach before falling to his death. Ellie helps Joel onto the horse and they ride far enough away to safety. However, Joel can only go so far before he succumbs to the stabbing and falls off the horse. The episode ends with a horrified Ellie, trying in desperation to resuscitate him, but he cannot wake up.
Just like the video game, HBO’s The Last of Us is more than just a show about “zombies” or violence. It implements empathetic writing and various cinematic elements to study personhood and the human connection in dire times. Neil Druckmann and Craig Mazin do a phenomenal job writing scripts for characters fans can connect to and love no matter how long they exist on screen.
Bill and Frank, Henry and Sam, and Tommy and Maria only exist in one or two episodes. Yet their impact is enormous, shaping the world in a way our two main protagonists could not do alone. While in theory they may just be supporting characters, The Last of Us finds a way to make them more than that. They are characters that stick with you long after they’re gone.
The filmmaking also cannot go unnoticed. From the intricate set designs to the natural outdoor world, the camera continues to bring the beloved video game to life through intimate still shots, timely cuts and a gorgeous score to support emotional scenes. The show also knows when to have fun with itself by including little Easter eggs, like when Ellie yells at a girl staring at her (a girl who looks quite similar to Dina in The Last of Us 2.) This is a rather slow part in the game (minus the various shootout sequences), and there is little to no action in episode six. This further proves The Last of Us‘ strength of a well-made series that benefits from creative liberties and changes, while still staying true to the source material. (4.5 / 5)
Until next time, check out the other shows and games we’re loving here at HauntedMTL.
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