Lone Survivor is a compact, hardcore survival-horror game. Clocking in at around 4-5 hours in length, it’s long enough to effectively squeeze as much horror as possible out of its little world, but also short enough that it never becomes tedious or repetitive. It’s filled with frightening imagery, half of which might just exist in my head, since the great pixel art leaves a lot to the imagination.
Latest Blog Posts
Home plays like a minimalistic adventure game. You’ll collect many items, and you can use some of those items with other things in the environment. There’s no inventory, and that’s a good thing since it would be unnecessary. Any text appears in a full screen textbox, making Home feel about as close as a graphical adventure could possibly get to becoming an actual text adventure. In fact, that comparison extends to its interactivity as well.
Indie Horror Month continues this week with the still-in-development-but-still-really-good beta of Paranormal.
Paranormal is the gaming equivalent of Paranormal Activity: a found-footage ghost story. The two works actually complement each other quite well since the slow burn tension of the movie is the perfect primer for the game, which jumps right into the freaky stuff. You play as a man who suspects that his house is haunted, so he takes it upon himself to wander around at night to record the various weird things that happen. There are multiple pre-ordained hauntings that can happen in a room, but what you see at any given time is random. The fridge might burst open during one game but stay closed during another.
It’s that time of the year again, when horror becomes mainstream. To celebrate, I hereby dub October “Indie Horror Month,” and every Friday I’ll be highlighting a clever, unique, and most importantly scary independent horror game that might otherwise slip under your radar. You might already know about some of them (two of the four actually came out on Steam while I was waiting for October to arrive), but that doesn’t change the fact that they’re still interesting and still deserving of discussion.
I begin with the XBLIG and PC indie oddity, The 4th Wall.
Gamers love a challenge, but more than that, we love a steady challenge. We love a game that starts off by being challenging and remains so throughout its five to ten to twenty to hundred hours of play. So, naturally, we love a game with a consistent difficulty curve, one that ramps up at a stable rate, never spiking and never slouching. But the problem with this kind of difficulty curve is that it’s so predictable. A game usually introduces us to all of its mechanics by the halfway point, and then spends its latter half simply throwing tougher and tougher opponents at us. It’s true for any genre or game. Call of Duty, Bayonetta, Dead Space, Need for Speed, Sleeping Dogs—by the time I’m halfway through (sometimes sooner), I’ve seen everything the game has to offer.
Purely by coincidence, two recent games that I’ve played bucked this trend by introducing new mechanics—or at least new contexts for old mechanics—during their climatic final levels. Rather than petering out with an ending that I’m likely to forget in a few days, these games end with a bang earned through the introduction of something new. Not only did I remember these endings, I remember loving these endings. All games should strive to end on such high notes, to have our final memory together be a good memory.
// Moving Pixels
"Watch the trailer for No Man's Sky and then for Frostpunk. There is a clear difference in the kind of expectations each creates in its audience.READ the article