Discover the Ultimate Gaming Experience at Gamezone Philippines in 2024

Walking into Gamezone Philippines this year felt like stepping into a time machine—one calibrated specifically for my nostalgic gaming heart. The vibrant energy of the convention floor, the hum of high-end PCs, and the sheer density of upcoming titles on display made it clear that 2024 is shaping up to be a landmark year for gamers in the region. But amid all the flashy trailers and immersive VR demos, I found myself drawn to a quieter booth showcasing narrative-driven adventures, where I got hands-on with a game called Old Skies. Let me tell you, it was an experience that perfectly captured both the promise and pitfalls of modern storytelling in games—something I think many of you will relate to once you dive into it yourselves.

Old Skies is, without a doubt, a beautifully crafted game in terms of its art and premise. You play as Fia, a time-traveling agent navigating fixed points in history, and the game’s linear approach to storytelling initially struck me as bold and intentional. In an industry increasingly obsessed with open worlds and player agency, the developers have made a conscious choice to keep Fia’s journey on rails—literally. There’s only one solution to each puzzle she faces, and as the reference material pointed out, this rigidity serves the narrative’s theme brilliantly. It reinforces the idea that fate is static, that the timeline is an unchangeable tapestry. I actually loved that aspect at first; it felt refreshing to play a game that wasn’t afraid to say, "This is the story, and you’re along for the ride." In a sea of games boasting 120-hour campaigns and endless side quests, Old Skies commits to its vision with a clarity I admire.

But here’s where things get messy, and where my enthusiasm started to wane. That same linearity, which works so well thematically, often falls flat in gameplay. I lost count of how many times I thought I’d cracked a puzzle, only to be met with a dead end because my solution—however logical—wasn’t the one the developers had in mind. Take the early mission where Fia uses cash to bribe a character. It’s established clearly, almost like a tutorial moment: money talks, especially when people are desperate. So later, when I encountered other NPCs who were visibly struggling or hinting at financial needs, I naturally tried to slip them some credits. Guess what? It never worked. Not once. And it’s not like the game forgot about money—Fia’s pockets magically refill after every time jump, teasing me with currency I couldn’t meaningfully spend. It felt like the game was waving a tool in my face and then slapping my hand when I tried to use it. I’d estimate I wasted a good 20 minutes in one section trying to bribe a historian who kept complaining about funding cuts, only to realize the "correct" solution involved rearranging books on a shelf in a way that made zero sense to me.

This kind of design isn’t just frustrating; it breaks the immersion that games like Old Skies rely on. When a game teaches you its own internal logic—like "bribing works when someone needs money"—and then abandons that logic arbitrarily, it pulls you out of the experience. I found myself growing more irritated with each nonsensical puzzle, especially when my proposed solutions were grounded in clues the game had already provided. It’s a shame, because the core idea is solid. The narrative explores weighty themes like determinism and consequence, and the voice acting is top-notch—I’d give it a 9/10 for emotional delivery. But these gameplay hiccups hold it back from greatness. I’d argue that about 30% of the puzzles could have been reworked to allow for player ingenuity without sacrificing the story’s linear thrust.

Now, you might be wondering why I’m dwelling on this at an event like Gamezone Philippines, where the emphasis is often on blockbuster titles and cutting-edge tech. Well, it’s because Old Skies represents a broader trend I’ve noticed in the industry—one that balances narrative ambition with interactive limitations. As someone who’s been gaming since the ‘90s, I’ve seen how games have evolved from straightforward arcade experiences to complex emotional journeys. But in that evolution, we sometimes lose sight of what makes gaming unique: the player’s ability to influence the world. At Gamezone, I saw countless indie studios and AAA developers showcasing titles that wrestle with this very balance. It’s a conversation worth having, especially as games become more cinematic.

Reflecting on my time at the convention, I realize that Old Skies left me with mixed feelings. On one hand, I appreciate its artistic guts and the way it sticks to its guns thematically. On the other, I can’t ignore the moments where it felt like the game was working against me. If you’re planning to pick it up—and it’s slated for a Q3 2024 release, by the way—go in with the mindset of an audience member rather than an active participant. You’ll enjoy the story more if you surrender to its rhythms. But if you’re like me and thrive on creative problem-solving, you might walk away feeling a little underwhelmed. Ultimately, Gamezone Philippines 2024 reminded me that the ultimate gaming experience isn’t just about flashy graphics or sprawling worlds; it’s about harmony between story and gameplay—a balance Old Skies hasn’t quite nailed, but one that the industry as a whole is striving toward. Here’s to hoping next year’s titles get even closer.