![]() (Example: one audio log forewarns you that one of your objectives is trapped.īut you'll have encountered at least one by the time you find the audio log in question, you'd chase them down, kill them, and loot them anyway, and it's too vague to be helpful to boot) then they're useless because you have to already know what they're talking about to get what they mean. (The very first keypad door has an audio log telling you its code, but the code doesn't get put into your Notes tab) which even if you find it before you spring the trap in question, it utterly fails to forewarn you on the nature of the trap, and in fact it wasn't until my third playthrough that I understood the trap in question was what the audio log was supposed to be referring to) In practice, you can get through System Shock 2 without opening a single audio log past the very beginning of the game. The net result is that audio logs in System Shock 2 are relegated to backstory stuff -and I've already touched on how this backstory is often dumb, problematic nonsense, such as randomly revealing The Many can do direct psychic domination, never mind that this means The Many should automatically defeat you. I specifically noted that logs in System Shock 1 often give you your next objective in the form of laying out a plan other resistance forces made that you then execute. ![]() In addition to the raw gameplay utility, this has two narrative benefits: first of all, it clearly signals that you're not the only person on the station doing anything of use. Other people are fighting back against SHODAN, it's just you're the only one lucky enough to survive the experience. Secondly, though, it also has the benefit of meaning they're not just trying to fight SHODAN, it's that they actually contributed! This neatly dodges one common problem with video games, where the player ends up feeling like they're surrounded by incompetent, apathetic morons who survive purely due to the player's herculean efforts to save them from themselves and I guess also save them from the villain.
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