Reviews - Updated on April 12, 2022

When reading the review, I got the feeling that Voloshin and I played different games.

1. Who are we, what are we, how did we get here and why? The authors offer to guess for ourselves, transparently hinting that we are playing for a thief who crawled into the Copper City in search of treasures.

Who knows where this is HINTED, since at the beginning of the game, at the training stage, this idea is voiced by skeleton teachers almost in plain text.

2. Of course, the fact that City of Brass is made in the genre of “run, fight, level, die, start again in slightly changed locations” is somewhat disappointing at first. Such mechanics are, of course, fashionable, youthful, but you still expect an interesting story and vivid characters from the people who had a hand in BioShock.

From its very appearance in the information field, City of Brass has positioned itself as a procedural roguelike, and the fact that “these people used to do Bioshock” does not give a single reason to wait for something other than what we were announced and promised the whole development path. I think Kirill simply did not follow the game as much as possible and hurried to issue some kind of thesis on the topic of expectations. You’re not a dumb person (hopefully) to spew out “I’ve been waiting for a Doom 2016 RPG since Bethesda is famous as an RPG publisher”.

3. Cool level design

Here, of course, it is very subjective and I am not going to argue in any way, but I would like to spit in the face of the developers separately for the idea of ​​​​putting spikes at almost every level right at the entrance to the location, when you are just setting up and starting to concentrate. I’m not the most blind and inattentive player in the world, but I almost always get into this asshole trap right at the doorstep, because, apparently, I’m an idealist and constantly believe that a game designer is not such a bastard as to spoil my feet at the very start. In games with a good pace, it is usually assumed that the first rooms are relatively safe in order to give the player time to collect his thoughts.

4. In the game, almost any object is interactive, everything can be thrown at the enemy

It’s not true here. You can throw anything in TES 4-5, in Prey, in Half-life 2. Here you can only manipulate strictly selected vases, empty, with fire, with shit poison, and so on. It is no longer possible to SUDDENLY throw another one of the same size into a vase, because it is no longer an object, but a decoration.

5. We are talking about the surroundings – instead of gloomy catacombs, here we have a bright oriental fairy tale.

She’s not that bright either. Lighting shaders hurt the eyes – it’s dark at night, during the day it’s so bright that the vision sits down. Everything around is somehow the same, but due to an overabundance of all sorts of cabinets and other details, the picture merges into one obscene mess. I haven’t been able to take screenshots for the article for a week now, because absolutely any frame is filthy with unnecessary crap, which makes it damn hard to visually separate objects. Of course, the architecture, statues and other things in the game are just BEAUTIFUL, but this beauty is simply killed by the fact that it is instructed anyhow anyhow.

I also think I should start to envy Voloshin, because he has a super-computer that runs on uranium rods and is cooled with nitrogen. Since this is the only way I can explain that his game did not lag. And if it slowed down – where is even a line about it? The argument “well, they’ll fix it later, I don’t see any reason to write about it” is of course correct, but then let’s write “at the start, the game is still raw, although it was tested in early access, but in the future it will most likely be fixed.” I’m just saying from personal experience (although Kirill’s most likely notably more) – today you write that the game will be fixed soon, and a year later it’s still the same broken if it doesn’t break even more.

And this is critical, since the game is a dynamic roguelike for a while, and as soon as something in it explodes or falls apart in a goddamn way, the City of Brass engine starts squealing in pain. Pieces of a broken box or a vase are given to him so hard that when an object is destroyed, he is guaranteed to lose 30-40 frames for 2-3 seconds. And imagine such a plug during a mass brawl with a dozen opponents?

In general, according to the text, I did not really understand why the game is “Commendable”. It doesn’t really offer anything new and interesting: in fact, it’s the most typical roguelike of the entire ocean of the genre, just in 3D and with the ability to cling to something with a whip. It works disgustingly – the traps are simply mockingly placed in places (not because they are not visible, but because there is no balance and adequate growth of the challenge in the game, either you have an empty room, or a hell of spikes and needle shooters of all kinds), enemies are sometimes scary stupid, or they can hit you with the edge of the heel from the other end of the map. Add on top of clumsy optimization, technical and graphical bugs and the fact that City of Brass has a disgusting hit calculation system. I definitely died 4 times from the fact that my saber caught an exploding vase with the edge of the blade while I fought with another skeleton.

But this is so, an alternative-gifted alternative opinion and another touch on the srach about the “undeserved assessment.”

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