[basic_text]

for example, I see that some people opened up that keypad in the lab by the janitor's closet, whereas I never did anything with that.

Whoa really? I figured that was the only way to get that door open? How did you do it?

I'd imagine there's a couple of ways of talking Ed down at the end without having the Resonance device blow him up? I also found out that there was an alternative to solving the box at Tortoise Security in order to get him to talk to you.

[Versipellis]

this is kind of lame, but is there a branching story path faq out there yet? I'd be interested in seeing a "here's what you might have missed" page.

The story branches during the last dialogue only, so you can see the other ending(s?) by reloading a saved game and choosing some different lines. There are other moments where you can proceed in two different ways, but they have no effect on the story.

Let's see if I remember them all...

- At Juno Labs to get access to Morales' lab, you can solve the circuit puzzle and open the door under the leaking pipe, or you can make Ed and Bennet push the debris blocking the front door. Doing both things gives you more points and an achievement, but that's all.
- At Tortoise to get Tortoise help you gaining access to the City Archives, you can have him collaborate by using the LTM (or it was an item?) regarding the break-in he suffered (he's the one who brought it up). Or you can have him help you out by solving the cube puzzle in his shop. More points and achievement if you do them both - the former has to be done first.
- In the hospital when you have Anna collecting the pills for Ozzie, you can fill the bottle with a placebo. Points+Achievement, but no changes to the plot.
- In the vault choosing to destroy the vault or to get access to it makes no difference whatsover

[dollartaco]

Whoa really? I figured that was the only way to get that door open? How did you do it? I'd imagine there's a couple of ways of talking Ed down at the end without having the Resonance device blow him up? I also found out that there was an alternative to solving the box at Tortoise Security in order to get him to talk to you.

Re: security pad Just move the boulder blocking the front door.

What's the alternative at Tortoise?

[matrix-cat]

There's apparently a way to pay Ozzie without giving him the pills from the Hospital, too (looking at the achievements). I'd also be interested to see what happens if you choose not to destroy the Resonance machines. Does Anna still die? I'm guessing she probably does.

By the way, is it just me or can you not skip anything but dialogue in this game? No warping across rooms, or even running, and some of those animations like the extending platforms and the ladders in the super collider room take forever.

[basic_text]

There's apparently a way to pay Ozzie without giving him the pills from the Hospital, too (looking at the achievements). I'd also be interested to see what happens if you choose not to destroy the Resonance machines. Does Anna still die? I'm guessing she probably does. By the way, is it just me or can you not skip anything but dialogue in this game? No warping across rooms, or even running, and some of those animations like the extending platforms and the ladders in the super collider room take forever.

I chose not to destroy the Resonance machine but it acted like I did choose to which I thought was a bit of a cop out!

I'm not sure what the Tortoise alternative is, I just read on the AGS forums that the creator said it could be done differently.

[basic_text]

Re: security pad Just move the boulder blocking the front door.

Haha I think I did both in that case then!

Sorry for the double post, I thought it might merge the two together!

[Versipellis]

It seems I've already answered all your questions in my previous post :D

[basic_text]

It seems I've already answered all your questions in my previous post :D

Yep, I didn't even notice that until I've added my comment! Cheers, that clears up a fair bit!

[Superimposer]

OK, so I'm a huge fan of Monkey Island, Sam and Max etc. That is to say, I love point and click games but have never really strayed from the LucasArts/early Sierra games. Should I have a look at this or Gemini Rue first? Are they noticeably more difficult games, and if so, which is easier?

[epmode]

Outside of one or two puzzles, they're both pretty easy as adventure games go. While I have a soft spot for cyberpunk, Resonance feels like the better game to me. It's certainly better produced.

You might want to look into the Blackwell games too. They're from the same company* and I prefer them to Resonance and Gemini Rue. Just keep in mind that the first two (of four) are older games from a relatively inexperienced developer.




*The Blackwell games are fully developed by Wadjet Eye while Gemini Rue and Resonance are more of a collaboration. Someone else wrote them and Wadjet Eye polished them.

[Superimposer]

Outside of one or two puzzles, they're both pretty easy as adventure games go. While I have a soft spot for cyberpunk, Resonance feels like the better game to me. It's certainly better produced. You might want to look into the Blackwell games too. They're from the same company* and I prefer them to Resonance and Gemini Rue. Just keep in mind that the first two (of four) are older games from a relatively inexperienced developer. *The Blackwell games are fully developed by Wadjet Eye while Gemini Rue and Resonance are more of a collaboration. Someone else wrote them and Wadjet Eye polished them.

Thanks a bunch, I think I'll start with Blackwell since there's more to delve into if I like the first one.

[epmode]

Thanks a bunch, I think I'll start with Blackwell since there's more to delve into if I like the first one.

Just so you don't get the wrong idea: The first Blackwell game is pretty rough and it's eclipsed by the later stuff. I still liked it in the end due to the music and writing but the series doesn't get legitimately excellent until the third game.

[chickdigger802]

that ending(s)... huh.

i knew something was gonna go bad when ed got the gun. And i love the call back to the tape on the ground in ed's apartment.

Good stuff. Not excellent, but stuff worked out well enough. Got no plans to do all the achievements though.

[deejay]

I love this game so far. I've only just begun.
The artstyle is just great. Normally I'm not really into point and click adventures but this one manages to keep me interested somehow.
The 'hack into the mainframe' storyline in the beginning already managed to frustrate me as well :P That stuff went deeper than expected.

[xtrasauce]

This game is very good. Only gripes so far are the perpetually-unimaginative camera angles, and the ugly anti-alias effect on characters when their sprites get bigger or smaller.

But yeah, liking it quite a bit. Fun, logical puzzles and a compelling story so far.

[Dog Problems]

Added some "other stuff" like interviews.

[Messofanego]

Kill Screen: Has RESONANCE found the secret of writing above gender stereotypes?

Conversations around the game haven’t much mentioned its female lead, Anna Castellanos, and just how radical she is. Anna reads like an antidote to all of the negativity surrounding female representations in gaming. She is the definition of a positive, complex, likable character—strong, with a difficult past, but the furthest from a “victim” stereotype one can be. She is a woman of color, and a medical doctor—an element reinforced by the gameplay, in which only Anna can access certain parts of a hospital setting, thanks to her credentials. She’s attractive, but by no means over-sexualized, and she holds her own in any number of difficult situations, including a scene where she evades an attacker in her own home. In many ways, she is exactly what feminist critics have been looking for in female characters.

The easiest place for the writing to have gotten bogged down—or for the story to have gone down an ugly, stereotypical path—would have been in Anna’s troubled past. Players actually take control of her as she navigates childhood nightmares, and flashbacks reveal both physical and verbal abuse in her history. But instead of ending up a “victim” stereotype, like Bonnie from Red Dead Redemption or the insinuations about the rebooted Lara Croft, or one of the countless female victims lining the great halls of videogame character history, Wesselman treats the character with respect and a realistic sense of strength. The designer credits his mother, a therapist who works with children who have experienced trauma, with his own desire to see a character rise up from that sort of past.

The secret, poises Elmaleh (voice actor of Anna), is good writing, attention to detail, and a desire to see some honesty in every character. “You don’t have to reinvent the wheel for your characters to be compelling and dignified,” she says. “Uncharted flanks Nate with a Girl Next Door and a Sultry Other Woman, and they are written, directed, and performed with such intelligence and subtlety that they’re lifted out of stereotype and into something lovely. And we’ve also been gifted with one of the all-time finest performances in a game, by a leading lady of many stripes and orientations, in a shooter—in this case, through simply obeying the [design] mantra of ‘Options and Choices.’ I think I might go spend some time with my second of three female Commander Shepards right now.”

“Graphic adventure games have always had run of this broad possibility space with wildly varying settings, tones, and concerns.” She points to 1998’s Grim Fandango as a perfect earlier example, with sassy, strong female characters and riotous situations. “They can be set anywhere, about anyone—lady of color doctor! Fella of color journalist! Nerd scientist! Grizzled, tubby cop!—the gameplay consists of puzzles and conversations from the mundane to the fantastical.

Pretty cool article, read the whole thing. I've always found adventure games to be the most forward in these matters. Nico Collard, April Ryan, and more.