SlavicPunk: Oldtimer is an isometric shooter video game, based upon the works of Michał Gołkowski, a renown Polish science-fiction and fantasy books author. It is him who created the story of Yanus – a private investigator with a troubled past, now trying to solve an unexpected case revolving around a stolen data carrier, all this while fighting his own inner demons, the urban gangs and a nigh-omnipotent corporation responsible for the downfall of the city he used to call his own.
SlavicPunk:为等距射击的视频游戏，根据工作的米哈尔Gołkowski，一名波兰科幻小说和幻想的书籍的作者。 这是他创造的故事Yanus–一个私家侦探一个困难的过去，现在试图解决一个意想不到的情况下，围绕着一个被盗的数据载体，所有这种战斗时自己内心的恶魔，城市团伙和一个近了-无所不能的公司负责的垮台的城市，他使用的称呼他自己的。

The game offers solid combat and movement systems, as well as a modular weapon upgrade system, thanks to which the players striding through the dark corners of the city may make every encounter feel and look different. Action-packed levels with stealth elements, hacking and environmental puzzle solving are intertwined with more slow-paced sequences of city exploration, side quests and storytelling.
游戏，提供固打击和运动系统，以及一个模块化武器的升级系统，由于它的玩家走过黑暗的角落，城市可以使每一次相遇的感觉，并期待不同。 行动包装的水平与隐形的要素，黑客和环境的解谜是交织在一起更缓慢的节奏序列的城市勘探方面的任务和讲故事。

A unique, inherently Slavic take on the cyberpunk world is sure to leave none indifferent thanks to its sharp, caustic sense of humour and a slightly pessimistic outlook at the neon-grey shades of the surrounding reality, at the same time providing a much needed breath of fresh air to the genre itself.
一个独特的、固有斯拉夫采取的庞克的世界是一定要离开没有无动于衷的感谢其尖锐的、腐蚀性的幽默感和悲观前景在霓虹灯的灰色阴影周围的现实，同时提供非常需要呼吸新鲜空气流派本身。

As a team, the question we asked ourselves was: what was the world going to look like in a couple of decades? How would a hypothetical Central and Eastern European city and its inhabitants differ from, say, Blade Runner ‘s L.A. or Akira’s Neo Tokyo?”.
作为一个团队，这个问题，我们问自己：什么是世界上会看起来像在几十年? 如何将一个假设的中欧和东欧城市及其居民的不同，比如说，刀锋战’s L.A.或晃的新东京?”.

The attempts to answer this puzzle has had a tremendous deal of influence upon the game’s artistic choices, including a mix of futuristic-esque and overly outdated technologies, the grim, brutalist architecture typical of the post-communist countries, the character’s not-so-obvious moral choices and the often crudely makeshift, yank-and-tuck character and atmosphere of an environment overpacked with people forced to cope with the uneven distribution of goods and wealth, often relying on their wits and sheer luck to make it to the next paycheck without losing their minds.
在试图回答这个难题已经有了一个巨大的交易的影响游戏是艺术的选择，包括混合的未来的去年秋季和过于过时的技术，严峻的，野兽派系结构的典型的后共产主义国家角色不那么显而易见的道德选择和经常粗暴地临时，美国和塞字和气氛的一个环境行合成与民被迫应付的分布不均匀的物品和财富， 通常依靠自己的智慧和纯粹的运气让它带到一个新的薪水，而不会失去他们的想法。

SlavicPunk story goes to show that there is more than meets the eye to this dystopian version of the future is, and it is only up to the players to discover what lies beneath the neon glow and the concrete streets – helping Yanus unravel his last case and find out just how brutal and ugly the truth may actually be.
SlavicPunk的故事表明，有更多满足眼睛来这个反乌托邦版本的未来是，这仅仅是最多的玩家来发现什么谎言之下的霓虹灯光和具体的街道–帮助Yanus解开他的最后一种情况，并找出是多么残酷和丑恶的事实，实际上可能是。

系统需求