Again, like the original, Beyond has that slightly strange mix of grim dystopian fiction and goofball humour, which is, honestly, exactly what I wanted to see from a Steel Sky sequel. You’ll be able to use it to mess with characters and otherwise screw up the simulation, which should result in some amusing moments. Revolution also says that LINC hacking won’t just be used for solving puzzles, but causing mischief too.
This combined with the Virtual Theatre system makes for a wonderfully reactive game. Break(), but with no coding required, just dragging blocks around. It’s a similar kind of programming system to games like Hack ‘n’ Slash or Heart. Other LINC hacking puzzles are more complex, including speeding up a conveyor belt to fling a crate at a robot, immobilise it, and steal its battery. So now when it detects the wrong credentials, instead of denying access, it grants it.
#Tvtropes beneath a steel sky code
Rather than hunt for the correct access chip, he hacks into the system and flips two visualised pieces of code around.
And by far my favourite feature in Beyond is being able to use a handheld hacking device to dip into the code of various objects in the world and reprogram it using a neat drag-and-drop interface.Īn example of this is when Foster doesn’t have the correct credentials to access a computer system. Because as we know, entrusting the running of something like a city to an advanced, possibly sentient machine is always a good idea. If you didn’t play the original Beneath a Steel Sky, LINC (that stands for Logical Inter-Neural Connection) is an all-powerful AI that connects and controls everything in Union City. I won’t spoil any specifics, but the idea is that the world is a machine and you’re the spanner being hurled into its gears, which involves some old-fashioned point-and-click object puzzling, and something altogether more interesting and innovative-LINC hacking. And to puzzle his way into the city, Foster has to break this routine. And this location is like a big clockwork mechanism running on a routine. Ahead is the city gate, behind us, the endless expanse of the Aussie outback. The entrance to Union City is a large circular area teeming with life, including floating robots, citizens wandering around, and even some native Australian wildlife. In most adventure games characters just stand in one place waiting for you to talk to them, here they moved around, and Revolution is taking this concept a step further in Beyond. It was pretty basic stuff, but it made the world feel more alive. This meant that some characters would have routines, and would only appear in certain places at certain times.
Revolution’s first few games, including Lure of the Temptress and Beneath a Steel Sky, used a technology called Virtual Theatre that introduced some basic simulation elements to the traditional adventure game format. But Beyond has a few fresh ideas up its sleeve too, including a new version of its Virtual Theatre system. Revolution is still an adventure-game designer at heart, and Beyond a Steel Sky will be heavy on puzzles, conversations, and exploration.ĭialogue is presented similar to Mass Effect, with a selection of options to choose from-a pretty standard affair with lines marked as to whether they’ll progress the story or just provide background info and gags. It’s bright and colourful, with expressive characters rendered in a bold comic book style.Ī benevolent AI, strongly hinted to be Joey from the first game, is running the city now, but this being an adventure game, finding your way in involves more than just dropping your old pal a WhatsApp. This isn’t some bleak, rain-sodden Blade Runner vision of the future. The light-hearted tone of the original game has been retained, too. The only location revealed so far is the entrance to the city, but it’s an impressive sight-a colossal gate with skyscrapers stretching endlessly into the stark, blue desert sky. Beyond a Steel Sky is fully 3D, with a third-person viewpoint, and Revolution has developed a graphics technology designed to mimic the distinctive style of Gibbons, who is back on board again as art director.
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