The copies originated from the WAU’s brain scans taken from unsuspecting humans operating the “pilot seat” chairs to control PATHOS-II machinery. The WAU has killed most humans at PATHOS II, reanimating them as insane cyborgs or uploading AI copies of them into robots. All life on Earth’s surface has been decimated by a comet, turning everything but the oceans into a toxic wasteland, and the guardian AI of PATHOS-II, the WAU, has gone rogue, blindly adhering to its primary programming of protecting life by any means necessary. Aided by Catherine, another AI copy of one of the facility’s scientists, Simon has learned the truth about him suddenly waking up there: the world has essentially ended. Having discovered that he is a robotic AI copy of his long dead self, and that his life in Toronto is a duplicate of the memories of the original Simon, he has roamed the underwater research facility PATHOS-II for days in search for answers. The journey of the protagonist, Simon, is nearly over. One of the things that struck me the most, however, is the ending. This is partly due to a focus on psychological, existential horror and not on the scare-focused chase-a-thons that have plagued many a horror game. From its promotional material to SOMA itself and the questions it raised, it has far surpassed their previous games and is among the best ones I have played. In 2015, Frictional Games released their latest offering, the underwater sci-fi horror experience SOMA. SOMA ends both predictably and unpredictably, underlining its theme of what it means to be human. This text contains major spoilers for the game SOMA.
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