My main issue with the Zero Escape saga thus far is the personality of the characters: they don't have any. They live and die in a plot of intrigue where they serve only as cogs in the greater mystery.
This should not be a problem, as the games seem to be somewhat aware of the condition of those characters, so everything is directed towards conversations that seek to create enigmas, explain them (or try to) and play with ambiguities. That is, they don't so much seek to be emotional games (luckily, seeing the messy occasional attempts) as intelligent games, which is why they don't shy away from including escape rooms, puzzles and frequent scientific or philosophical references with explicitly cheeky quotes. But they are not smart games.
The deficiency in creating good riddles contained in the escape rooms is more severe, although more concealed, in the main plot. One expects the revelations to show the connections hidden under our noses all this time, but it isn’t like that, particularly in Virtue's Last Reward. Ideas simply succeed one another, none of them particularly imaginative, surprising or interesting on their own or in their cohesion and evidently discrepant when the biggest surprises are revealed, even trying to exemplify them by clarifying small forgettable enigmas without being able to avoid raising at least two major contradictions on the core plot in the process. As you understand more, you also wonder if all this is going to go anywhere. If the component of intrigue, of tension, of intelligence, of emotion, of surprise, if all this and more, has been lost, what is left?
The first installment ended with an ending that, although it came too late and too clumsy, at least achieved something, literalizing a scientific hypothesis into something convincing for its fiction. It made you want to see what more was there to say about it, what could be explored once this hypothesis had materialized, how far could it go.
In Virtue's Last Reward, it is made clear that there was nothing more to say. It tells what is already known and the little that is not, or was less obvious, such as to what extent future actions can have unexpected repercussions on this intricate temporal system, is again greatly reduced in comparison to everything else that gets in the way. Even its worsened structure is surprising. This one, at first appearance more accurate, stating when the story branches and when it reaches different places, loses completely in tension.
Some mystery was preserved in the first game when deciding which teams would go where and how they would be formed, even more so when, being a first entry, anything could still happen. There was no guarantee that a fortuitous decision could not lead to a bad end, and in fact that was often the case in the long run. The structure of Virtue's Last Reward clarifies that it's not so much about choosing as it is about exploring, yet it still feels distracted. The door decision system is both more confusing and more boring, but the final straw comes in the voting ramifications. Something that should be a total psychological confrontation is actually revealed very quickly as a simple formality, the weight that deciding one option or another may have, no matter how much it tries to insist on the supposed human burden carried, comes to nothing.
The last ace up the sleeve to justify the mediocrities that cannot stand their own weight is that the purpose of everything was to expand knowledge horizontally, hence the tree that branches more even if it was with less interesting motives and implications. However, from such an extensive tree of knowledge, ironically, once finished exploring, you come to learn nothing.
This should not be a problem, as the games seem to be somewhat aware of the condition of those characters, so everything is directed towards conversations that seek to create enigmas, explain them (or try to) and play with ambiguities. That is, they don't so much seek to be emotional games (luckily, seeing the messy occasional attempts) as intelligent games, which is why they don't shy away from including escape rooms, puzzles and frequent scientific or philosophical references with explicitly cheeky quotes. But they are not smart games.
The deficiency in creating good riddles contained in the escape rooms is more severe, although more concealed, in the main plot. One expects the revelations to show the connections hidden under our noses all this time, but it isn’t like that, particularly in Virtue's Last Reward. Ideas simply succeed one another, none of them particularly imaginative, surprising or interesting on their own or in their cohesion and evidently discrepant when the biggest surprises are revealed, even trying to exemplify them by clarifying small forgettable enigmas without being able to avoid raising at least two major contradictions on the core plot in the process. As you understand more, you also wonder if all this is going to go anywhere. If the component of intrigue, of tension, of intelligence, of emotion, of surprise, if all this and more, has been lost, what is left?
The first installment ended with an ending that, although it came too late and too clumsy, at least achieved something, literalizing a scientific hypothesis into something convincing for its fiction. It made you want to see what more was there to say about it, what could be explored once this hypothesis had materialized, how far could it go.
In Virtue's Last Reward, it is made clear that there was nothing more to say. It tells what is already known and the little that is not, or was less obvious, such as to what extent future actions can have unexpected repercussions on this intricate temporal system, is again greatly reduced in comparison to everything else that gets in the way. Even its worsened structure is surprising. This one, at first appearance more accurate, stating when the story branches and when it reaches different places, loses completely in tension.
Some mystery was preserved in the first game when deciding which teams would go where and how they would be formed, even more so when, being a first entry, anything could still happen. There was no guarantee that a fortuitous decision could not lead to a bad end, and in fact that was often the case in the long run. The structure of Virtue's Last Reward clarifies that it's not so much about choosing as it is about exploring, yet it still feels distracted. The door decision system is both more confusing and more boring, but the final straw comes in the voting ramifications. Something that should be a total psychological confrontation is actually revealed very quickly as a simple formality, the weight that deciding one option or another may have, no matter how much it tries to insist on the supposed human burden carried, comes to nothing.
The last ace up the sleeve to justify the mediocrities that cannot stand their own weight is that the purpose of everything was to expand knowledge horizontally, hence the tree that branches more even if it was with less interesting motives and implications. However, from such an extensive tree of knowledge, ironically, once finished exploring, you come to learn nothing.