None of them are quite as satisfying as the original cube-based mechanics, though. A handful of others I won’t reveal here, simply because discovery is half the fun. There are also doors that open only when a green block is launched into them, like a miniature battering ram. Oil, for instance, lets you slide green blocks across the floor. Surprise: More puzzles inside-and more morally dubious voices on your radio.Ī longer story necessitates more puzzle mechanics, though, and so QUBE 2 eventually starts adding new tools in the environment. Here, you play as Amelia Cross, an archaeologist who somehow awakens on a strange and dusty red planet and is forced to shelter in another enormous cube structure. The Director’s Cut laid some groundwork, establishing the cube as an enormous spaceship hurtling towards Earth, prompting you to blow it up, and then casting doubt upon whether that was the right move or not. More detailed environments aid in telling a more complicated story, too. It’s unique and eye-catching, especially in combination with Unreal 4’s always-stunning lighting effects. The closest real-world parallel is Frank Lloyd Wright’s Mayan-themed Ennis House, which most famously inspired the interior of Deckard’s apartment in Blade Runner. The world-made-out-of-cubes look remains, but now in darker tones, rougher, like stone or concrete instead of future-plastic. ![]() Gone are the blank white walls of its predecessor. QUBE 2 is quite a bit larger, at least in scope. The initial 2012 version was basically “ Portal-style puzzles for people who like Portal-style games,” and nothing more. It wasn’t until 2014’s QUBE: Director’s Cut, two years after the initial release, that the game got proper voiceover narration and some semblance of coherence. Hell, the original version of QUBE barely had a story. “With a twist,” sure, and the puzzles were decent enough, but it’s pretty telling that most actions in Q UBE had an analog in Portal prior.Īnd to be honest, I don’t think QUBE intended to break out of Portal’s shadow.
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