![]() Here is a visual description of the process. Instead of giving tedious instructions every single time you need to juggle, I will just use this phrase and you should know what to do. At first glance, it may seem that one item will be tied up with disabling the object, but you can use two items to "juggle" your way out of the predicament and still hold onto both items. All it requires is at least two items that can interact with a single object (energy gate, turret, mine, etc). The art of juggling is essential for countless puzzles in this game. For the rest of the walkthrough, I will be abbreviating this as LoS. The line of sight indicator in the HUD works wonderfully for placing connectors in the perfect spot. This is crucial in Talos, since you need beams to go across large expanses without hitting any obstacles. Like the name implies, line of sight means that you have a direct sight line to the target. Zoom (I set to 'z') allows you to zoom into far away objects. Alternate use (I set to right mouse button) allows you to pick up a connector without losing previous targets. These two controls can be configured in the options menu. There's still some doubt on that front.These custom controls are easily missed, since they don't have key bindings by default. The game is clever enough to pull something like that off, and generous enough in its puzzle design to make you feel clever into the bargain. If any game was going to look like a Voodoo 5's fever dream on purpose it'd be the one with a wide-ranging interest in machine-generated worlds, artificial intelligence, and the way that personality imprints itself on nothingness. I don't think that's true for The Talos Principle. Chances are, nine times out of ten, that art that says nothing was trying to say something and failed. In another game I'd write that line off as overthink. More than anything else it reminds me of those benchmarking demos that used to ship with 3DFX cards in the late '90s-depopulated ruins presented for their complexity only, any human point of reference secondary to some mechanical process churning away beneath the surface. This landscape of remixed Greek, Egyptian and medieval styles is technically accomplished but says absolutely nothing: a sense compounded by the fact that the developers let you fiddle with colour filters from the main menu. I'm fascinated by The Talos Principle's lack of visual artistic direction. It's cleverly written stuff, varied and interesting. ![]() Its meat is in logs, excerpts, e-mails and interactive conversations that you extract from DOS prompts, records that touch on everything from the day-to-day running of a scientific facility to literature and, particularly, philosophy. There is a surprisingly intricate story being told, here, and its substance is only gestured at by that booming voice in the heavens. Considerations about the meaning of personhood, apocalypse, machine intelligence and the ramifications of the Biblical Fall of man are spun through the game via text-dispensing terminals. The other half of The Talos Principle is found in its loftier ideas. Framerate is uncapped and I achieved around 90fps on average with everything turned up to max. You can switch to a third person view, alter the aspect ration, and even alter the colour balance and contrast of the game through a series of filters. The Talos Principle gives you an impressive amount of control over how the game looks and feels. Graphics options Field of view (60-120), graphics API, V-sync, triple buffering, CPU speed, GPU speed, GPU memory, colour options, letterboxing aspect ratio, HUD scale. Reviewed on Intel Core i5 2500K, 16GB RAM, Nvidia GeForce GTX 970
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