Really beautiful scenarios and sound design, but the story is so confuse it leaves the game soulless. Besides, the tiny bits you can understand are such a nonsense. It's pathetic. And it isn't even slightly scary. The pigs are dumb, they don't chase you, they don't search for you. They almost doesn't show up: you can walk around feeling completely safe for the most part of the game. The puzzles are obvious and repetitive. The nonsense of this game seems endless, so you must drag yourself and wearily crawl towards the end of it. And it doesn't ever seem to end. It gets so boring and even annoying that the game's best part, I'd say, was seeing "The End" in a dark background and the following credits.

This game has one of the most captivating and engaging stories, making it one of my favorite horror stories. However, the keyword is stories because the gameplay does not do this game justice. The first two-thirds of the game is a trash heap because of all the mundane and oversimplified puzzles that require no thinking. Most people would do better to play this game before playing Amnesia the Dark Descent because of the change in gameplay. Nearly everything Amnesia the Machine for Pigs does is better than its predecessor however its gameplay is the one thing that just keeps this game from truly being a masterpiece.

As this game was wrapping up, I found myself to become quite invested in the story and themes surrounding it. The only other Chinese Room game I've played prior to this one was Everybody's Gone to the Rapture, and much like that game A Machine for Pigs has a great story to tell packaged into a real bore of a game. In some ways this is better than The Dark Descent, but Frictional Games set out to make a thrilling horror game while The Chinese Room settled for a real slow burner about the bourgeoisie, the darkness within mankind, and how much a player can tolerate wandering around empty buildings opening doors and drawers to absolutely no benefit because there's nothing beyond notes to collect and no puzzles to solve beyond "put object A into slot B". Still much better than Bloober Team's Layers of Fear though.

Also calling the black sludge Compound X just made me think I was playing a much more deranged Professor Utonium, setting out to create the perfect little (pig) girls.

Exquisite grand guignol steampunk vibes withstanding, this game’s departure from the bare-bones survivalist elements of the first game into something a little more patient was quite refreshing for a while. Unfortunately that means that all the enemy encounters that DO occur are so awkwardly stitched into this atmospheric and anti-capitalist narrative that they sort of negate the questions of empathy that are posed by the narrator (one of the strangest attempts at a redemption arc if you ask me). I found myself more haunted by the demonizing portrayal of the pig-human atrocities and wondered how much of this is meant to be read as actual thoughtful social critique versus the occasionally goofy and simplistic trashy exploitation that it ends up being. If anything it feels more like empty fan-service to have these monsters loom over every second of the gameplay.. echoing pig squeals and earth shattering booms clouding up much of time you spend navigating the factories, sewers, muggy streets and reading clumsily littered journal entries explaining everything to the player. Per usual, The Chinese Room craft something quite luscious to look at and listen to (Dear Esther and EGTTR are both masterful) but it’s hard to shake the lack of clarity when it comes to the cumulative vision here. It felt most apparent in the chaotic climax when the camera would frequently and violently shake, making the muddy colors of the interiors bleed together into unintelligible masses for periods at a time, or when our “protagonist” would slowly slip into a dark area to hear the fiftieth voiceover monologue and for some reason the game takes away your lamp to make it SpoOkY, or when I fell through the map and bugged out of game’s space for the third time. It’s a beautiful mess I don’t regret playing, but TCR is capable of making bigger and better things than what felt like little more than a franchise sell-out here.

Amnesia: A Machine for Pigs didn’t really impress me in the beginning. It was the sheer lack of mechanics that The Dark Descent did well; the stress of having to find tinderboxes, the loss of sanity, the puzzles with being able to interact with so much of the environment. All of it was missing, initial chapters fairly slow. It was such a stark difference.

But then I started to enjoy it more later on. I think being under the Amnesia name did it damage due to there being certain expectations from the fanbase, and I'll admit I probably judged it too harshly myself. It had its own good moments, and despite the enemies being few, there were still some stealth segments. Sure, it was different and made up mostly of walking, but it wasn't terrible.

Review EN/PTBR

Much simpler than the first game and I think it had a cool premise but in the end I don't feel it was as well very executed as expected, it's not a bad game but it ends up being judged more rigorously from the fact is a Amnesia title.

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Muito mais simples que o primeiro jogo mas que eu senti que tinha uma pequena premissa daora mas que no final não sinto sendo tão bem executada quando o esperado, não é um jogo ruim mas acaba sendo julgado mais rigorosamente a partir do momento que possuí o nome Amnesia em seu título.

The whole game is very poetic and fascinating in its ideology, worthwhile playing it just for the sake of the satisfying elegance and eloquence of the notes and dialogues, suffering from a gameplay view sadly. It has one of the darkest stories in the gaming world, and the soundtrack and voice acting are on point. While The Dark Descent's gameplay and use of environment was better, this game counters those strong elements with ıts unique story and ambiance, sadly it can be easily viewed as just a walking sim. It deserved more, but I'm happy to have played it.

I’ve found, oftentimes, when a work exists relative to another work — be it a sequel, adaptation, etc. — that the general audience has a tendency to judge it purely by its relation to the original. “Loyalty” becomes the touchstone for which the work is defined, and should it feel significantly different from the original, or change things in adaptation, it’ll be decried as a bad work compared to the original, regardless of its actual quality separated from that context. Amnesia: A Machine For Pigs, from what I understand, was no stranger to this type of reception. On its original release, in 2013, it was criticized for feeling much more stripped back compared to what it was following up on. Core mechanics that defined Amnesia: The Dark Descent, such as managing your inventory, fueling your light source, and making sure you don’t lose your sanity were not present within Machine For Pigs, in an attempt to gear the game as more of a narrative experience, as was the modus operandi of primary developer The Chinese Room. It was a tall order — especially given just how popular and influential The Dark Descent was for indie horror — and sadly reception proved to be rather mixed because of that. What the general audience wanted was something reminiscent of the original work, and when the process of creating a follow-up resulted in something far different, it was rejected: not on its own merits, but because of outside expectations that this work didn’t entirely cater to.

So it’s a little funny on my end that of all the Amnesia titles, this is the one random chance chose for me to play first. Having not played, or even watched much of anything else to do with the series, I’m coming into this divorced from a lot of the context or outside expectations that surrounded the game on its release. I wouldn’t necessarily feel this game to be stripped back in terms of mechanics, since I never had an understanding of those mechanics in the first place. I wouldn’t think about this game in comparison to the original Amnesia… mostly because I prefer to view things on their own merits, but because I came into the experience absent any previous experience. It’s far from the first game in the series (especially if you consider Amnesia as a spiritual sequel to Penumbra), but, personally, this one would be my first foray into it, and, likely, the blueprint for what I'd expect to see should I delve further into this series.

You play as Osmund Mandus, a wealthy industrialist, who wakes up from a coma of several months right on the last day of the 19th century (or, well, actually a year from the last day of the 19th century, but shhhhhh) to find that his two children are nowhere to be found. His search takes him through his manor, through the streets and sewers of Victorian London, listening to the directions of a mysterious man on the telephone who tells him he knows where his sons are. He’s eventually led into one of his factories, and through this factory, towards a machine of unknown aim and infinite proportions. As he gets closer, however, Osmund finds that the workers of the machine are anything but human, and that he might know more about the machine than he seems to think...

I think this game’s strongest point was its narrative. I think the writing did a good job of getting me to know and like the characters, and I was particularly into the varied, wild directions the plot happened to go. Beyond how effective it is at building up a mystery — and drip-feeding the player information as it slowly unfurls — I think what I really loved is that this is a story that operates on multiple textual levels. While you’re fully capable of taking the game at face value without really feeling like you’re missing out on anything, this is something that begs to be read a little deeper. Particularly, one can question how literal the events going on even are, with a knowledge of Victorian England potentially providing an indication that the events that are depicted… perhaps could be interpreted as a metaphor for something much less fantastical. I made a point to look up plot details after the game specifically because I wanted to know more, which to me I’d say is a compliment as to how much this game made me want to think about it.

As a horror game, I’d also say it’s solidly effective. The nighttime environments feel suitably dark without it being absolutely impossible to see anything (which, believe me, so many games can’t seem to get right). There’s a subtle sense — through how the sounds you keep hearing are the only things that break through the silence, how empty the streets of London are — that something is wrong from the start, driving the core mystery and providing an aura of unease as you delve deeper through the game. I’m also into the way things… escalate as the game goes on: from down to earth as you explore your mansion, then veering into the fantastical as the monsters begin to show up, then more and more off the rails the further you delve into the heart of the machine. The sections with monsters are simple, but effective stealth sections, with their presence feeling imposing enough to make the player not want to mess up. When you’re caught, or when the game dispenses with the idea of stealth, enemies are loud as they rush you down, inspiring a blind panic as you try to figure out how you’re meant to get away. It’s the little things that contribute to a horror game’s atmosphere — and mean just as much as any big setpiece or scare — and in regards to the micro level, I think this game does pretty well on that front.

Where it falters, I feel, is mostly in direct gameplay. Less the ‘walking simulator’ aspect, more when the game throws puzzles at you. They’re mostly fine, but what it really suffers from is a lack of… indication of how your actions affect the world around you. Oftentimes, I’d solve a puzzle, the game would acknowledge that I solved a puzzle… and then I’d have no clue what to do next, either the puzzle requiring an extra step that wasn’t quite clear (at one point I thought the game had glitched and softlocked me), or because the game has issues with signposting where exactly the player needs to go. There were so many points where the game was like “walk down the path we’ve set for you” but the path was in a large enough area that I got lost, or the way forward was absolutely coated in darkness that I couldn’t see it. I kept looking at guides, not for any of the puzzles, but for a lot of what was in-between, when it… really did not feel like that was what the game had intended, nor something that particularly felt like a ‘me’ problem.

Other than that — and divorced from whatever context that might have given me different expectations, or any sort of in-built comparison — I felt that this was a fairly solid narrative game. While a lot of the gameplay, and most of the segments where I was walking from place to place, felt like they could’ve been made more clear, I felt the horror to be rather effective, and the story to be something super worth delving into and interpreting. As my personal first experience with this series, I felt like this was a fairly decent introduction. Can't wait to be shocked that the next game in the series has actual mechanics. 6/10.