BONEWORKS Free Download

BONEWORKS Free Download Unfitgirl

BONEWORKS Free Download Unfitgirl What happens when you throw headcrabs, crowbars, and advanced physics puzzles into a dystopian cityscape? If the first thing that comes to mind is Half-Life 2, you’re only half right. Boneworks, by developer Stress Level Zero, is a clear homage to that and several other Valve classics. And while its mechanical ideas and atmosphere aren’t the most original, Boneworks’ best physics-driven moments manage to make VR feel more tangible than any other action-adventure game to date. Physics-based arena games like Blade & Sorcery and Gorn have been a favorite of VR enthusiasts for years now, but Boneworks is the first VR game to take the idea of giving you a variety of objects, each with their own distinctively modeled weight and heft, and then use those as the components for solving single-player puzzles and combat. I was pleased to discover that there’s quite a thick campaign to progress through here, sprawling across nearly 13 different levels. There’s also a pretty cool original retrowave soundtrack by Michael Wyckoff, and it adds flavor to the overall ‘Half-Life meets Tron’ style that Boneworks is shooting for. This campaign clocks in at around seven to nine hours, depending on your skill with its wide range of tricky physics puzzles, predictable but satisfying combat encounters, and springy movement systems. That said, nothing about the campaign stands out against other action-adventure games. There’s a city streets-themed level, a sewer-themed level, a warehouse-themed level, and so on. As Boneworks takes you through the motions of a campaign that stylistically resembles both Half-Life and Portal, occasionally sprinkling an added helping of DOOM-style backtracking and keycard collection for good measure. Unfitgirl.COM SEXY GAMES

it generally works fine. But it only really succeeds at conjuring a washed-out memory of what those games were like in their prime. Your mute protagonist is a computer hacker who broke into the VR world of MythOS to “reset the clock,” whatever that means. This is only loosely explained, and your own motivations remain pretty unclear throughout. At best, Boneworks has something of an anti-plot. It strings itself together on style and clever use of physics, but fails to say much about its own world or lore. You wouldn’t even know your character’s name, for example, without doing some extra digging or paying extra close attention to the clues left in the environment. The convenient fact that it takes place in a “virtual” virtual world is a tolerable gimmick for letting Boneworks get away with consistent jankiness mixed with some inconsistent art direction and minimal plot. However, MythOS’s intentionally low-fi aesthetic and constant fourth wall-breaking gags barely excuse the fact that you can easily break the level design by losing key items if you aren’t careful, and even the physics systems that tie the whole game together are precariously shakey. The latter problem happens often, when limbs and meshes get stuck inside one another, or when enemies trip over loose objects or even other enemies. That’d be forgivable and even funny if not for the fact that if you leave Boneworks or need to restart in the middle of a level because an item you need was lost, you’re forced to go back to the very beginning. There are some autosave points strewn throughout each level, but they act more like respawn points rather than dedicated save files, and you can’t manually save at a certain spot to come back to it if you mess something up.

BONEWORKS Combat.

Being partial to consistent action in my action-adventure games, I was pleased to find that there aren’t a lot of characters to talk to or exposition dumps to slow you down. The main interaction comes from your real-world friends Hayes and Alora, played competently by YouTuber Mike Diva and actress Heldine Aguiluz, who speak to you through monitors you find as you progress through the story. You see far more of Hayes (Diva) than you do of Alora (Aguiluz), but both characters are so forgettable that I had to Google it to figure out what their names were. All I remember, only a couple of days after finishing Boneworks’ campaign, is that Hayes usually shows up to ramble about void generators and Monogon, the nebulous mega corporation that created MythOS. None of that exposition ever translates to gameplay so you can bypass it entirely if you prefer and you won’t miss much. It’s often more fun to smash these talking screens against the side of a wall in VR, and I was pleased to discover that you are free to do that here. For the most part, MythOS feels as lifeless as the robo-headcrabs that plague its digital corridors, and the lack of a meaningful story made Boneworks feel a little hollow. What it does have in droves is Easter eggs and unlockables; there are plenty of secret toys and weapons, and you can accidentally trip over them if you aren’t paying attention. Stumble into a nondescript nook and uncover a key that opens a secret room, or go searching through some drawers to produce a gag item with a silly name or description, like a bag of “Endurance Nuts” or a book titled “Texturing for Morons.” For years, an ambitious game called Boneworks has hovered in the periphery of the VR enthusiast community, inspiring equal parts drool and confusion. It’s made by a scrappy-yet-experienced VR team (makers of quality fare like Hover Junkers and Duck Season). HANDBALL 21

It revolves around realistic guns and a complicated physics system—thus immediately looking more ambitious than other “VR gun adventure” games in the wild. And it so strongly resembled Half-Life in its preview teases, both in aesthetics and in physics-filled puzzles, that fans wondered if this was the oft-rumored Half-Life VR game after all. (It’s not.) Now that Boneworks has launched for all PC-VR platforms, does the gaming world finally have an adventure game worthy of an “only in VR” designation? The answer to that question is a resounding “yes”—but that’s not the same as saying it’s a good video game. At its worst, Boneworks had me bellowing in agony. The game, which has you escaping and battling your way out of a mysterious research facility, revolves around a philosophy of “realistic” physics interactions. Everything you see can be touched, pushed, lifted, and manipulated by your hands and body according to their real-life size and weight. But the results can be an utter mess of virtual body parts glitching through or getting stuck on top of stuff in the game. Since your real arms and legs are not so constricted, the disconnect of game and reality is some of the most severe I’ve ever seen in VR software. To break this down, I’ll start by addressing a brief, “experts-only” notice that must be clicked through upon every boot of the game. Now that I’ve played the game, I would have rewritten the notice to be more specific: This touch of pantomime is a necessity if you’re to enjoy Stress Level Zero’s physics-driven VR shooter, a game that wants each of its many interactions to be realistically weighted and considered. It’s a crude bit of role-playing; put your back into lifting thin air when picking up massive virtual boxes, swing your axe with the intention of cutting down a tree, even if there’s no weight in your arms. Don’t think your hands can phase through anything, but instead treat them as solid matter just like every crate, ladder and door.

Character Bodies.

Put your body and mind into this reality and play along. The more wholistically you adopt this line of thinking, the more you’ll enjoy Boneworks. But what is Boneworks, other than its notable ruleset? Is it just a template, a Blade & Sorcery-style tech demo for technology that will be better served in future releases? Or is it VR’s first Half-Life level epic, the purest distillation yet of virtual shootouts and uncompromising immersion? The reality, as is so often the case, is somewhere in between. Yes, Boneworks does come with a full six to seven-hour story mode, and a quite enjoyable one at that. Isolated within a deranged virtual metaverse, you fight your way through scores of rogue AI enemies and the holographic soldiers sent to clean them up (a scenario not terribly dissimilar to Half-Life 1’s Black Mesa incident). It’s as much a puzzle-platformer game as it is an FPS, with regular road bumps that ask you to haul, hoist and vault yourself towards a goal. Both its combat and those brain-teasers are best approached in the spirit of science. Boneworks might be a gun-nut of a game but its combat is thrillingly physical, with reload animations that find deep satisfaction in the pull of a charging handle or push of a magazine. Melee action is hefty, lagging behind your own movements to replicate the exertion you should be spending to deliver the crushing impact many VR scraps have been sorely missing. Above all it’s wonderfully playful; grab a leaping robot crab (or, you know, a headcrab) by its legs and you can victoriously lasso it above your head before bringing it crashing into the side of a wall or executing it at point-blank range with an SMG.Onward

I’m quite rightfully ashamed to admit how much fun I had holding an enemy’s head at arm’s length and then stabbing them with a broken bottle as they flailed about. The magic moments come thick and fast. There’s a SWAT-style slickness to nudging a door open with the end of your gun, summoning an ammo crate to your hand then unloading a full clip into an enemy. The more adventurous you get with the combat, the more fun you’ll have. On the other end of the spectrum it can’t always bridge the gap between physical weight and a lack of haptics, leading to some more awkward instances like being mobbed by a pack of enemies at close-range. Perhaps the highest praise I can bestow upon Boneworks, though, is that it made me see virtual worlds as just that: worlds. If you have to reach a high-point in a level, there’s rarely one set way to do it. You could stack a bunch of boxes together and then clamber up them, or snatch the side of a ledge with the end of a crowbar (again: Half-Life) and then use that to pull yourself up. The game encourages you to treat it like an actual reality of its own as often as possible. This can, at times, be exhausting. In one of the game’s final puzzles, I was trying to shift heavy wooden planks across gaps to swinging platforms, with very little feedback to tell me how the plank would rest and if it would hold should I attempt to walk on it. It was a painful half-hour devoid of any kind of enjoyment, more akin to fighting my way through an IKEA instruction manual. I just wanted to pick the thing up, chuck it down and be done with it, but Boneworks has no sympathy for the fatigue of virtual labor. The same is true of the action, where the simplest solution often trumps the coolest. The game’s lofty two-handed weapons are, in reality, often less effective than the pistols and knives that can be accessed and utilized in half the time.

Advanced Physics.

Add to that some inevitable technical flaws — though not nearly as many as you might fear — and you have something that’s best enjoyed in intense bursts rather than binged upon. And yet, going back to more static worlds isn’t going to be easy post-Boneworks. Stress Level Zero just started barking up a very particular tree, one that, for perhaps the first time in VR, pulled my brain out of ‘game mode’ and brought more of myself into the headset. The further I delved into Boneworks’ campaign, the more I believed that I could pull off virtually anything I wanted to given the manpower and resources. But it’s also a reminder that, at the heart of Valve’s most beloved campaigns is, well, Valve; a seemingly god-given talent to tame whatever unruly new concepts its dreamt up, from portals to gravity guns, into almost faultless game design. And that’s what this doesn’t have; a channeling of all of those possibilities into one seamless, flowing package of high production scenarios and diverse design. The game’s pacing and environmental design are largely one-note and rarely as inspired as the laws that make it work. Granted, these are impossible expectations to stack Boneworks against and it does often do an admirable job of serving them. It’s campaign occasionally flirts with that brilliance before turning to more trite scenarios like, of all things, a trek through some sewers or some more mundane puzzles. “I didn’t want Moving Simulator,” I proudly quipped to myself at one point as I wrestled to stack one box on top of another, just to watch it fall once more. Theater can only get you so far; at some points I longed for a touch of automated acceptance to finish the job when a jump was just a little far from reach or a plank didn’t quite bridge a gap.

It was not for nothing that developer Stress Level Zero was one of the first studios to be allowed to experiment publicly with Valve’s new Index controllers. A YouTube video with team members on The Node channel showed the controllers in action early on. In Boneworks you can grab and throw all sorts of objects with your own fingers, hold opponents or push them away and more. In the meantime, end customers can finally play around with the physics engine to their heart’s content. If you put your fingers around two shelf bars, you can climb up them. Or you can pull it towards you and let it crash into one of the strange-looking wireframe opponents, who will visibly take damage. Here everything and everyone has a certain weight that can be balanced through the area with the fingers captured by the controller. A padlock, for example, no longer poses a problem after a few blows with the ax. A heavy hammer is better gripped with two hands, and even the maniacally thrashing opponents can first be held by the arms and pushed away. Then you grab one of the weapons from the somewhat fiddly holster or inventory and give the obtrusive techno zombie the rest. Depending on the game balance you buy or collect pistols, Uzis, assault and sniper rifles or a copy with the extremely practical one Laser dot sight. With the latter, it becomes clear what the Valve developers meant when talking about Half-Life Alyx when they talked about actions that are only possible in VR. At the edge of a dry flood protection channel (as seen in Hollywood films such as Terminator 2) I walk close to a concrete wall using the free stick movement. Since there’s an enemy lurking on the other side, I simply stretch my hand around the wall and carefully poke my head out of cover for just a moment, then shoot blindly around the corner.

However, the high thrust of the weapon forces me to grab with my second hand – and not to get stuck on obstacles.  Later there is even a kind of gravity gun, with which you can heave heavy objects into the air, rotate them, pull them towards you or push them away with force. Actually, the approximately eight-hour adventure leads through a kind of game within a game: After I hooked into the mysterious “Myth OS” in an abandoned laboratory using a VR headset, strange things happen in the virtual city. In the introduction to the technology museum, I happily throw myself into all sorts of funny experiments, throwing axes at dummies, unlocking various weapons at the shooting range, smashing thin glass or balancing weights on switches. After I slipped through a garbage chute into the “underworld” of the museum, I quickly realized that behind the beautiful appearance there seemed to be a lot of bugs and suffering. Everywhere I find wandering cleaning robots, philosophical scribbles about the torments of the virtual world and about the question what happens in the system after a death. Colleagues from the outside world keep making contact with short video messages. This introduction is staged absolutely fascinating! Again and again I was amazed by surreal details such as incorrectly twitching matter or tendrils, which turn out to be technical artefacts up close. BONEWORKS Is a narrative VR action adventure using advanced experimental physics mechanics. Dynamically navigate through environments, engage in physics heavy combat, and creatively approach puzzles with physics. Designed entirely for consistent universal rules, the advanced physics mechanics encourage players to confidently and creatively interact with the virtual world however you want. Approach combat in any number of ways you can think of following the physical rules of the game’s universe. Melee weapons, firearms, physics traps, environments, can all be used to aid you in fights with enemy entities.Flashing Lights

Add-ons (DLC): BONEWORKS