The Room 4: Old Sins

作为实体机关解密游戏，延续了整个room系列丰富的机械机关，精密盒式机关，光学机关，超自然机关等，可玩性很强，相对于前几部的密室，这部显得比较精致小巧，场景建设比较丰富，难度不是很大，不看提示也基本能解完，这部的故事明显比较丰富，很遗憾的是目前没有中文翻译，笔记和信纸的可读性很低，希望后续能有中文引进，并且作为中国玩家，在日本艺术关卡，能感觉到制作团队对中国文化实在没有深刻的研究，其中水墨画是中国独有的传统绘画门类，起源于中国，雏形出现在魏晋，宋元鼎盛，后来才传入日本韩国等东亚国家，此外龙文化的本源在中国，从古中国陆续传入日韩，越南等东南亚国家，各国才有衍生的本土化龙形象，至于屏风等等也是一样。日本作为文化接收端，对这些文化元素进行了本土化，但不可否认的是这些都起源于中国。希望主创团队也能多多了解中国文化和机关学，其中不乏优秀的机械机关技术。
As a physical puzzle escape game, it inherits the elaborate mechanical contraptions seen throughout the entire The Room franchise, including intricate box mechanisms, optical puzzles, and supernatural machinery, making for highly engaging gameplay. Compared with the larger escape settings of earlier entries in the series, this installment features compact, refined levels paired with richly detailed environments. Its overall difficulty is moderate, so players can complete the game without relying on hints for the most part. The title also boasts a noticeably more fleshed-out narrative.

Unfortunately, there is no official Chinese localization available yet, which severely hinders readability for in-game notes and letters. We hope a Chinese version will be officially published in the future. As Chinese players, we noticed the developers lack in-depth research into traditional Chinese culture in stages themed around Japanese art. Ink wash painting is an art form originating exclusively in China: its earliest prototypes emerged during the Wei and Jin dynasties, flourished across the Song and Yuan dynasties, and was only later introduced to Japan, South Korea and other East Asian nations.

Likewise, dragon culture originated in ancient China before spreading gradually to Japan, South Korea, Vietnam and other Southeast Asian countries, where localised variations of dragon imagery were later created. The same origin logic applies to folding screens and many other featured cultural items. Japan adapted these imported cultural elements into its own native art forms, yet all of these cultural icons trace their original roots back to China. We sincerely hope the development team can further explore traditional Chinese culture and ancient Chinese mechanism craftsmanship, which encompasses a wealth of sophisticated mechanical design wisdom.

挺好玩的，谜题设计的很精妙，提示也很恰到好处，不会提示的太过也不会让人完全摸不着头脑，大部分卡关的时间集中在找东西上，这个找不到那个找不到（主要是我眼瞎。第一次上手也不会让人感到完全的不知所措，除了全英文看的人头疼外，都挺好，但是把中国风跟日本风混的太近了，很多一眼中国风的东西非说是日本的，中国人很不满

但第四作又給救回來了。
大概解謎游戲也跟好萊塢電影一樣總是第三部最爛吧（。
娃娃屋的設定真是精巧又有趣！不同於第三作謎題的重複和令人厭倦的來回趕路，第四作每個房間都有不同主題，謎題解法也很豐富。并且它還講好了一個令人揚眉吐氣的完整的故事！
所有的解謎愛好者都必須擁有。

这一作终于变亮了！！
谁懂我打开游戏后完整地看见整栋房子的救赎感，从一作就开始许愿的手电终于是让孩子用上了。

这作难度感觉是最简单的，主要是因为在流程方面进行了优化，透镜一看就大概知道该干嘛了。就是几个房间来回跑有点麻烦，我老记不住哪个房间是哪个 使得我在最后一章非常地无助ORZ

剧情和前三作是完全分开的，不知道是前传还是平行的。简而言之就是又一个研究■■而家破人亡的倒霉蛋。 看不懂剧情也不影响解谜的啦。 但是这作剧情是最容易理解的，有感觉到制作组文笔的进步（

最后，要赞美一下伟大的汉化组们，让我能无痛玩到经典游戏，感谢！

The Room系列第四部，虽然没有中文但是也能找到汉化，个别地方有点难度，慢慢玩最后还是通关了。

现在正逢折扣，八块买五个小时的沉浸式烧脑解密还是比较值的。

四部曲最好的一步，画面的巨大提升不用多说，最大的提升还是在游戏设计方面，将一个个房间作为一个个关卡，每个关卡之间互相影响交互，比之前一关一关的体验好不少。