Parts where all I did was walk through dialogue-less memories were the most touching moments in the game. From her time as a child dreaming of becoming a star in the sky to an adult dedicated to science and figuring out the unknown, the music makes you feel like you’re listening to an old music box.Ī lot of moments in the game fully rely on these two elements. It gently leads you through the life of Linri. Similarly, the soundtrack is the perfect backdrop to the story. Especially with how serene, but unsettling wide open spaces feel. The graphics in this game are just as simple, but have moments where they truly stand out. In the grand scheme, that seems like a smaller issue, but it still affected my time with the game. The sound mixing and sound quality in the game was impossible to deal with. As a point and click, a lot of those options are mostly unnecessary, except for sound. Impostor Factory doesn’t give you those options. So naturally, having the ability to go into a game’s settings and fiddle around could be the difference between a 30 minute play session and a multiple hour one. Loud or busy sounds, flashing images, and a lot of movement put a real strain on me. On the technical side of things, it’s important for me to note that an issue I have when playing games is that I develop sensory overload very easily. Though I understand the necessity of the humor woven throughout, the moments of levity felt out of place. I genuinely enjoyed my time with the game, but a lot of what I loved about the story also exhausted me. However, the main portion of the story is often drenched in sentimentality and melancholy. The narrative never felt like it was trying to throw a lesson in your face. It showcases her difficulties with a chronic illness and her struggles balancing work, love, and health. What follows is a beautiful journey through Linri’s life. Her name is Linri, and he’s actually moving through a simulation of her creation. Not long after Quincey realizes he’s stuck in a time loop, someone decides to reveal the truth to him. You become a passerby to someone else’s life. With Impostor Factory, though, you take on the role of someone moving through another person’s memories. Memories are fickle and we can be biased with our interpretations. It’s a narrative trope that lends itself to emotionality, as well as the understanding that things simply cannot be what they seem. I’ve played a few games about love and loss that take place all within the mind of a singular character. But what I love even more is a deep dive into a person’s history told through their memories. That becomes the games strongest point, and its execution is almost flawless. As the third game in the series that began with To Moon, it is still deeply invested in narratives about memories and the lengths people will go to preserve and change them. Its most extravagant feature is a fast paced walk, bound to the shift key. Impostor Factory doesn’t give players a lot to work with. There’s a distinct feeling that some details are missing. Upon entering the house, two odd assistants greet Quincey at the door. It’s situated on large grounds with a dilapidated and seemingly abandoned exterior. The main character Quincey enters a large mansion with the perfect horror backdrop. It’s a dreary afternoon, complete with rain and an eerie sense that something’s not right. Impostor Factory opens like any good murder mystery should.
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