Kirk Hamilton

you know, on the face of this planet.

And then you go inside and it becomes like this first person game where you're walking through this house and it's this memory.

It seems clear it's a memory, but it's not clear of what.

And like it's got this like horrific kind of scary energy.

And then you gradually re-experience that house and the house becomes like how Celine's backstory and the narrative is delivered.

That's really cool.

You know what I mean?

That was the kind of thing that jumps out at you and that I still remember all these years later is the feeling of seeing a house and being like, what the hell?

And going inside it.

And I think that by comparison, there is, or I haven't come across anything yet in Saros that feels as immediately iconic and interesting and different.

It's more, it's all very familiar.

And I would imagine with more cut scenes, more time, really seeing the more expressive versions of these characters, and then learning the twists and turns, even if some of them are somewhat predictable.

Like, I can imagine that...

Eventually making it all feel more narratively interesting.

But it doesn't grab me nearly as much at the beginning.

I like this structure in general as a video game.

Yeah, and also it has a kind of a Metroidvania feeling too because this also happened in Returnal, but it's structured differently in this game where, you know, the first thing you unlock after beating that first boss is the ability to jump off of these pads.

So when you're going through the first area, you'll see these latch points and it's like, okay, well, I'm going to get a grappling hook that will pull me up there.

Or you'll see a thing on the ground beneath a jump that you can't reach.

And it's like, OK, well, clearly at some point I'm going to be able to trampoline off of that.