*Wheels Of Aurelia Cracked
*Wheels Of Aurelia Metacritic
*Aurelia Game
*Wheels Of Aurelia ReviewSanta Ragione
Here's the endings I have so far. I will try to keep this topic updated and eventually form a guide, if nobody else makes a complete guide. Some routes are a lot easier with a fast car. Haven't checked to see if any routes are made available by a slow car. How to win races/chases: Have a fast car, don't hit other cars or the side of the road too much. It is possible to win races/chases with. Just Cause 4 and Wheels of Aurelia are now free to own on Epic Games Store until April 23rd. News dsogaming.com.
*Wheels of Aurelia Beta Playthrough #1 – Ending D Road trip race! - Wheels of Aurelia Beta. PC Wheels of Aurelia SKIDROW CRACK SKIDROW 2016. Tags: JUEGOS FULL.
*Wheels of aurelia نام یک بازی ماجراجویی و مسابقه ای خاص و محبوب از استودیوی santa Ragione s.r.l می باشد که برای اندروید منتشر شده است. این بازی روایتی جالب از ایتالیای دهه 70 میلادی را به تصویر خواهد کشید، ایتالیا در دهه 70 میلادی مکانی نا.
*Wheels of Aurelia is launching on Nintendo Switch on November 2! Embark on an immersive road trip through the gritty western coast of Italy during the roarin.
In most racing games, the ethos is pretty clear: Drive fast, pass the checkered flag first, and bask in the glory. In Santa Ragione’s recently released driving game Wheels of Aurelia, it’s a little more complicated than that. Sure, you can race in it, but you don’t have to; Heck, you don’t even have to drive, as the game will follow the road for you, albeit at a snail’s pace. No, what Wheels is really about is road-tripping, the sense of going nowhere specific at no particular speed, and the conversations that can result from that.
To get a better sense of how this self-proclaimed “narrative driving game” approaches this unique mission, Inverse met up with the designer, producer, and programmer of Wheels, Pietro Righi Riva, at this year’s IndieCade in Los Angeles.Yu Suzuki, the much-acclaimed developer of Shenmue and many other titles, once noted that his Outrun series was all driving games, not racing games. How would you say that dichotomy applies to Wheels?
Wheels is the natural evolution of that thought in that it abandons the typical format of a racing game in the competitiveness that is still present in Outrun. It’s all about the setting and the story, which are background elements in Outrun — what a Japanese developer thinks about fictional America — whereas in Wheels, it’s real Italy. Although, we did take some techniques from Outrun and that generation of games. For example, the road in Wheels of Aurelia isn’t the road in real life, and it looks like more like an arcade racer.Games often struggle to come up with unique settings, but Wheels’s post-fascist Italy certainly gives it a striking atmosphere. As a developer, how did you work with this to give it a unique sense of place?
This “post-fascist” quality is something that’s debated in the context of Wheels. The game argues that it’s still fascist, and you could say the same about today. The idea about making a game in the ‘70s was ultimately to make a game about Italy today. We were looking at the generation in which our parents grew up, and we really want to understand the political climate at the time and make it emerge through the characters that populate the world.Despite their prevalence in other forms of media, such as Easy Rider, the “road trip” is a concept that few games attempt. Why do you think that is, and how did you work to embody that in Wheels?
Video games really struggle to blend gameplay and story, and this is not new — I’m not the first person to say this. Go to any GDC [Game Developers Conference] and you’ll see this topic being discussed. One of the reasons is that the ways storytelling takes place, it’s hard to make those interactive, and integrate them in traditional forms of gameplay that we’ve been learning to make for thirty years. There are strong limitations. One of those is, of course, how do you make a character that’s playable when your political opinions don’t align with those of the character you’re playing. Everything in Wheels is an experiment, an attempt to make this happen. The reason that there aren’t more games like Wheels is that it’s very risky and there’s no frame of reference for doing this. Some people even say it’s impossible.Sounds like they’re wrong.
Well, they might be wrong, they might be right. Until there’s a pop success, itll be debated. Maybe you could argue [Inkle Studio’s] 80 Days was that success. It’s a very difficult problem.What would you say is Wheel’s ethos?Wheels Of Aurelia Cracked
I don’t think it really has one. It doesn’t really take any of the character’s motivations and history as its own. Even though Lella (the protagonist) thinks that racing and driving fast are part of her ideals in life, the game makes fun of it. I don’t think I ever really thought about the game in that sense. I’m more, how do we make it feel natural, fun, not too boring or serious. How do we represent travel itself? That’s the objective of the game: How can travel be an expression of a country?Are there any particular works of media that influenced the development of Wheels?
I would say Il Sorpasso was the movie that single-handedly inspired it — the main reference.Can’t say I’m familiar.
It’s basically about a road trip that takes place ten years before Wheels. Two men go on a trip. One is a very extroverted man, and one is very shy, and they clash and influence each other.Naturally, as a narrative game, it features a constellation of different endings. Did that present problems during development?
I didn’t write the story behind the game, but I did tell the writers what I wanted regarding the variety of input, so that the player felt that their full breadth of actions were being reflected in the story. We wanted every dialogue choice to be meaningful on a story level, which ended up producing many, many endings. But the storyline isn’t written in a traditional branching path — it’s based on topics that the characters have brought up in the past.Some of the response to Wheels has focused on the educational qualities of the game. People just don’t know that much about Italy, me included. Did that influence your design?
We always knew that we were making a game that would be perceived differently depending on where you grew up — the Italian public especially. The farther you get from Italy, the more exotic it seems. The French can sort of understand it, the Germans too. But when you come to the U.S., people usually freak out when they learn that our ex-Prime Minister was kidnapped and murdered.Wheels Of Aurelia Metacritic
We knew that this was going to happen, and we wanted the game to be a sparkle for renewed interest in the time period, so they would do their own research. We 50% succeeded in doing that — half of players would read into it, and the other half would just give up. So in a new update, we’re planning to include an in-game encyclopedia.You mentioned the narrative structure is non-traditional. Do you mind speaking more to that?
Each line in the game is represented as a topic in the coding language, and each topic is tied to every other topic. And certain topics won’t come up if other ones haven’t come up, and vice versa. And each line has a priority, so if we’re chit-chatting, and we pass by a monument in the road, then that topic will become available, because it has higher priority than the existing topic.That’s a really cool system. It must have been really hard to implement.
It was designed by us with Anna Kipnis, who works at Double Fine. She designs narrative systems for them, and she’s extremely capable. Not something we would have done without her.What was the hardest part of the game to get right?
For sure, the blending of talking and driving. When we released the beta last year, we got a lot of critiques that called it a “texting while driving” simulator, meaning while they were choosing dialogue, they were hitting guard rails. Though the game doesn’t penalize you for this, it was unnerving and stressful to see your car go off the road. So in the current version, the car auto-drives, except when you accelerate. It was just a lot of design, but I think we were partly successful.
This interview has been edited for brevity and clarity.
Bravo, Santa Ragione and Brava, Lella! This driving sim/adventure hybrid’s a definite Game of the Year contender that will make those who “get” it want to crack open a few books and do some heavy reading and/or thinking.
Platform: PC (also on Mac/Linux/PS4/Xbox One)Developer: Santa RagionePublisher: Santa RagioneRelease Date: 9/20/2016# of Players: 1MSRP: $9.99ESRB Rating: N/AOfficial SiteScore: A (95%) BUY IT!Aurelia Game
Calling Santa Ragione’s outstanding Wheels of Aurelia a simple “driving simulation” is REALLY selling it short. This brilliantly conceived hybrid game is more of a mature “choose your own path conversation-based adventure that just so happens to take place in a almost constantly moving car” with 16 possible outcomes and more than that many ways to reach them. From the beautiful stylized simplicity of the art, the great soundtrack (buy it!) that captures the spirit of late 70’s Italian radio tracks, and the mature script that may rankle a few overly sensitive types while striking others as flat out fantastic and thought-provoking.
Save for the ride you choose, the game’s opening is exactly the same each time. In 1978, Lella and Olga, two young Italian ladies who met the previous evening at a disco, set out on a road trip to France on the Via Aurelia along the western coast of Italy. Along the way, the pair talk about life, pick up a hitchhiker or two (or none – it’s up to you) and based on the path both the conversation and car takes, the game reaches a conclusion in all of 15 minutes or so. 16 endings at 15 minutes each ends up at 4 hours total playtime IF you’re silly enough to think you’ll see every conversation and character variant possible. The combination of period-era history, frankly spoken dialogue and some VERY interesting hitchhikers make this very replayable as well as a great exercise in storytelling.
Despite the color palette,this is NOT a kid’s game at all. Lella’s an unrepentant smoker, there’s a running plot point in all the sequences about a pregnancy and what’s to be done about it, religion gets a little fun poked at it (a little Inquisition, if you will), and so forth and so on. In a great move, the game slyly does not let you in on what occurs with most of its protagonists until you reach an ending. In fact, the fate of Lella, Olga, and a few others is all based on conversation strings, where you drive and who else may be in that car during the trip. Sometimes a character leaves and another joins, changing the game’s tone from serious to comical, then back again to serious. Other times, your journey ends abruptly thanks to being in the wrong place for Lella and the right time for a passenger. Both Lella and Olga have secrets that change up the drive you think you were going to have into a drive that just makes you think.
If you’re a student of world history, the references to religious and political issues of the era will be pretty eye-opening. Not to spoil anything here, but subtle to direct mentions of personalities from the period had me hitting a search engine to play reconnect the dots. WoA is a game where the more cerebral players will see past the “Point A to Point B” stuff and enjoy it all the more because it nails so much in as few words as possible. Gameplay is simple: you “steer” with the left/right arrow keys (or left stick on a gamepad), speed up the car with the spacebar (or B on a gamepad), but you can’t turn around at all if you miss a drop point or potential passenger. The game is structured to get you to points relatively quickly, not make you backtrack. You can choose to not touch the gas at all, which makes for a more leisurely drive, but expect a few complaints about your lack of a leadfoot.
Lella’s conversation stings are handled with the up and down arrows (or up/down on the pad). You have a few seconds to choose one of at least three responses, one of which is silence (which isn’t always, golden, mind you). Her replies range from serious to sarcastic and give an insight to her as a person while also opening up one of the reasons she’s in that car in the first place. Both she and Olga have their reasons for traveling to France as Aurelia becomes the road to a few things along the way. Paradise, Redemption, Revenge and more, or all those films Bing Crosby and Bob Hope never got around to making. Then again, Dorothy Lamour would make a terrible Lella, I’d bet. Too damn cheery with the songs and sarongs and whatnot.
In a neat touch, you can earn bonus cars in the game based on who you pick up and what happens. Not to spoil anything here, but there are times where Lella completes a story with a different ride than the one she starts out in. Sometimes this makes for amusing transitions and yes, it’s nice to see another little car on screen when you start a new story up. While not licensed vehicles, it’s easy for car buffs to point out what they’re supposed to be and I’m sure the game’s Steam forum will get a list sooner than later of guesses. Of course, that’s good for the dev team, as it means the game is selling well enough that players get to do that guessing.
The lovely art and catchy tunes keep the conversation flowing even with the car banging into the occasional barrier or other vehicles. This isn’t a “true” simulation at all as you don’t see damage and other than a few not so consistent complaints about Lella’s driving, you’re not going to end up crashing through a barricade into the sea or end up upside down in flaming wreckage as far as the endings I’ve gotten show. There are races to compete in here as well as at least one police chase. However, those outcomes seem predetermined based on who your passenger is more than your steering and acceleration skills. Nevertheless, he game is always captivating and reaching those endings makes each short trip worth it.
If there’s a flaw here, it’s the limits to the dialog trees. As you only have a few seconds to choose Lella’s responses, they needed to be more concise so players wouldn’t be scrolling through choices and run out of time. Also, some of her lines repeat at odd moments or you’ll see a choice pop up that changes the subject simply because the other options are have been used and you’re stuck with going deadly serious just to hear the response. That said, overall, the game works well enough that these are minor gripes at best.
So yes, definitely thumb a ride with Lella and Olga and go learn a bit about them (or not) before you reach your destination (or somewhere else she drops you off because that’s how she rolls sometimes). Wheels of Aurelia is a superb indie masterpiece that needs to be played multiple times and kept in your library just to show off how the medium can be used to entertain outside of merely running around putting bullet holes in everything as a main plot point.
-GWWheels Of Aurelia Review
(Review code provided by the developer)
