Like most horror games, Perception is kind enough to leave a flashlight lying around for you: it’s a sensible tool for exploring a shadowy old house, and it probably even comes packed with enough batteries to last a few hours. But Perception isn’t like most horror games, and the flashlight isn’t going to help you, because in Perception you play as a blind woman.
Perception follows the story of Cassie, a blind woman drawn by her recurring nightmares to an old mansion known as Echo Bluff: a house that is lodged mysteriously in her memory alongside the images of a rope, a ticket, an apple, and an axe.
This clichéd horror setting is somewhat of a let-down in that it plays out as expected: the house haunting Cassie’s dreams is full of creaky floorboards and slamming doors and, naturally, a shadow is following you. However, the way that Perception depicts and explores blindness in its mechanics gives the game an extremely compelling angle. We’ve seen haunted houses before, but we’ve never been told to tackle them blind.
Hunting in the Dark
In order to navigate Cassie needs to ‘see’ her environment through echolocation: by tapping our cane we glimpse a ghostly outline of the objects around us, but this approximation of our surroundings quickly disappears without constant tapping. While story objects and notable features are often marked in green, the rest of Cassie’s world can fade to darkness with nothing but the sound of ticking clocks and television static to guide the way.
Exploring through echolocation is Perception’s core mechanic, and it works as an innately horrifying idea: the sound of your cane tapping can draw monsters towards you, and at times it feels that the old house is listening to your every step. Each tap could reveal a place to hide, or a figure stood in the doorway. In Perception, the house itself becomes the enemy, and Cassie’s only tool to overcome her environment means making noise that risks giving her away – and with a house that shifts and changes through the different chapters, every step could be treacherous.
This is all a brilliant concept, but sadly it is easier to get lost in Perception’s premise than it is in the actual gameplay. Perception begins by giving the options of ‘Story’, ‘Spooky’, and ‘Scary’ game modes. ‘Story’ letting you play with little to no threat from monsters, ‘Spooky’ with the original settings, and ‘Scary’, naturally, with an even more threatening Presence ready to hunt you down.
In reality, even in the ‘Spooky’ game mode, it is impossible to unwittingly draw the attention of the monstrous Presence. Tapping your cane over and over will draw out the strange, cloaked figure that hunts you, but not before several blatant audio cue warnings, or even text appearing on screen to inform you that the monster is coming. There is no subtlety to the Presence hunting you, and if audio and written warnings weren’t enough the screen will helpfully turn red when you ought to hide. It seems a real shame that the supposed main mechanic of the game falls apart with just a little probing when the entirety of the game’s psychological horror relies on you being afraid to make noise.
The Presence is a disappointing empty threat, especially when Perception has such excellently chilling sound design and scripted scares that are both original and unnerving. Essentially, the game itself is scary, but its main monster is not. Despite it being the core of Perception’s gameplay you could easily play the entire game without accidentally triggering the Presence chasing you outside of scripted scenes. In this sense, Perception is a poor horror game. However, if we think of it as a narrative game that happens to tell a horror story, there are certainly elements to praise in Perception’s design.
A Rope, a Ticket, an Apple, and an Axe
Perception’s story feels a lot like those of Gone Home or Everybody’s Gone to the Rapture. As Cassie explores the house we uncover the stories of its residents through each tragic generation. It’s well worth playing all of Perception’s 3-4 hours in one session because getting buried in the game’s atmosphere is the best way to appreciate it and to pin together a story that for a large part of the game is only hinted at.
The Deep End Games’ devs involvement with the Bioshock series is evident in Perception’s numerous audio logs and ‘touchstones’: items which trigger memories from the past generations to play out around you. It’s unclear how much of the game’s events are happening inside of Cassie’s head, but whereas some story elements are whisked away under the explanation of the supernatural, others are lodged in the realities of living with vision impairment.
Whilst Perception leaves notes and letters from the past scattered around the house, they appear as blank pages until you scan them with the text-to-speech function on your phone. Later on, you can be put in touch with a volunteer who will describe what he sees from the pictures you send. Despite echolocation making the mode of navigating your environment, once again, in the visual, the apps that Cassie has to rely on for other information are a clever way of reminding you that you are still in the dark. You might not know what you’re touching, or what hidden dangers are around you until your phone reads them aloud.
Each chapter follows the story of a new character, but while the strength of the voice acting fluctuates throughout the game it is, annoyingly, often Cassie who breaks the flow and tension of the consecutive ghost stories. It’s telling that Perception gives you an option at the beginning to turn off ‘Chatty Cassie’. This seems like an option for players who want to experience their horror game uninterrupted, but for such a narrative focused game it’s strange to suggest you tone down the main character. It feels like The Deep End Games wanted Cassie to be a strong and empowered protagonist, which is entirely admirable, but too often Cassie’s witticisms and humor detract from any tension the game might have been building.
In the Eye of the Beholder
It’s hard not to conclude that Perception’s story, like the voice acting, and like the gameplay, is somewhat mixed. The stories of each generation, and of Cassie’s past, are all concluded in the final chapter – but the stories final revelation frankly isn’t reaching far beyond the clichés we began with at the doorway of our haunted house. Individually, the chapters make for interesting and chilling short stories and each has moments where they shine or occasionally surprise, whilst Cassie’s own story of self-discovery and strength is compelling.
The question remains whether Perception’s unique approach to horror with a blind protagonist is enough to carry story and gameplay that doesn’t stand up on their own. Perception is somewhat like an inverted version of Gone Home, where the ground-breaking new perspective is revealed at the beginning, instead of at the end. In Gone Home, this transforms what would otherwise feel like a lukewarm horror game into a revelatory narrative experience, but in Perception, we begin with the alternative angle and progress through an increasingly ordinary horror game.
Perception’s presentation of blindness is worth experiencing, and there is definitely a compelling balance between the urge to explore every inch of Echo Bluff for hidden secrets, of which there are many and the creeping dread that comes with tapping your cane against the creaking floorboards. Perception is not without issues, so if you’re looking for an immersive horror game you may want to look elsewhere. However, there is an audience for Perception in those players who savor narrative games and want to experience a horror story charged with a new perspective. For anyone looking for a new perspective, Perception can open your eyes to the darkness.
The writer received a free copy of the game for the purposes of this review.
‘Life is Strange 2’ Episode 5 Review – “Wolves”: A Worthy Send-off
The final episode of Life is Strange 2 may take a while to get going but it does offer a solid conclusion to the Diaz brothers’ journey.
Life is Strange 2 hasn’t made any bones about being a political game over the course of the last year. The 5th, and final episode, “Wolves”, doesn’t just continue with this message, it doubles down, and in a big way.
Set near the Arizona-Mexico border, “Wolves” follows the Diaz brothers on the final leg of their journey. Having escaped from the cult that held Daniel up as a messianic figure in the previous episode, Sean and Daniel are camping out in a sort of pop-up town filled with outsiders like themselves.
The location provides Life is Strange 2 with its final breath of relaxation before the story enters its high tension endgame, and it’s a much needed reprieve. Unfortunately, it does seem to go on a bit longer than the player might like, and that makes things drag a smidge.
To give you some idea of how long you’ll be spending in the village, 4 of the 6 collectibles are found here. So, yes, this starting area is the main place you’ll be spending “Wolves” in. To be clear, the area isn’t bad per se. There’s a lot to see, a scavenger hunt to go on, and a few interesting characters to speak with, including a surprise cameo from the original game. The bummer of it all is that players will be feeling the time here more laboriously simply because there isn’t much of anything happening.
In the 2nd or 3rd episode of this story it’s perfectly fine for an extended bit of down time. Episode 3, in particular, benefited greatly from allowing you to settle into the setting and get to know a diverse and likable new group of characters. However, by the 5th episode, players will be so eager to see how things are gonna settle up, they won’t be able to get out of this area fast enough.
On the upswing, once Sean and Daniel leave the village, the story moves at a pretty solid clip to the credits. As the key art and trailer for “Wolves” might suggest, the Diaz brothers do indeed challenge the border wall in the final leg of Life is Strange 2. Where things go from there, I won’t spoil, but rest assured that Daniel will absolutely go through the crisis as you’ve trained him to do.
By this I mean, you will see the final results of your choices throughout the game, and they’re pretty impressive. With 4 possible endings, and 3 possible variations on those endings, Life is Strange 2 can ultimately play out in a variety of ways. How yours plays out will, of course, depend on the choices you’ve made and how you’ve influenced your brother throughout your journey.
Either way, though, Life is Strange 2 closes off “Wolves” with an emotionally satisfying and generally fulfilling conclusion to your journey. It might be a necessary evil that the events can’t be intense the whole way through, being that this is not an action or combat-focused game, but the fact that things take so long to get going in the final episode is a bit of a problem.
Still, fans worried that Life is Strange 2 might fail to stick the landing can rest easy. “Wolves” might not be the best, or most satisfying, episode of the series but it does what it needs to do and it does it well, particularly in the back half.
‘Yaga’ Review: A Bittersweet Fairy Tale
Some games feel perfectly suited to their genres, as if they fulfill every ambition that their genre could promise. On paper, Yaga from the developer Breadcrumbs Interactive, should be one of those games. This roguelike RPG is meant to bring traditional Slavic folktales to life, and its procedurally generated structure allows the game to change in every playthrough, just like how the ancient fairy tales it’s based on can change in every telling. Yaga immediately shines on a conceptual level, but as a game, the most important question remains: will this fairy tale be enjoyable to play?
From start to finish, Yaga uses the rich source material of Eastern European history and folklore to create a vibrant, fantastical world. The entire game is framed as three elderly women telling the story of Ivan, a heroic blacksmith who has been stricken with the curse of bad luck. These women spin a fanciful yarn, one in which Ivan is constantly plagued by horrors from traditional fairy tales such as the hideous One-Eyed Likho, along with more realistic foes, such as a corrupt, overbearing Tsar. The game thrives on this balance between history and fantasy. Its world is filled with peasants who face daily, universal struggles with war and agriculture, while massive ogres and goblin-like Vodyanoys haunt the surrounding wilderness. This mixture creates a strong setting that finally gives Slavic history and mythology its long-overdue representation in games.
“Take the presentation and story together, and Yaga becomes a playable portrait of the lives and superstitions of Eastern European peasants.”
The frame story always remains the same: Ivan will always have to serve his Tsar while avoiding bad luck in every playthrough. However, beyond these core details, the old women are extremely flexible storytellers, often switching events around or changing story beats entirely. In some playthroughs, you may discover a woman raising an enormous chicken; in others, you may instead encounter a band of thieves waiting to rob you. You will frequently face important decisions to make that will dramatically impact the outcome of your quest. yes, you can always break into monster hideouts with hammers blazing to slay every creature before you; but more often than not, you are also given the opportunity to peacefully talk your way out of these toxic situations. Even more dramatically, oftentimes the game will zoom out to the old women storytellers and allow you to choose how they tell the rest of Ivan’s story. Yaga is at its best when it doubles down on this player freedom. It makes every moment engaging and allows its stories to truly come alive.
Yaga’s writing and presentation only serve to make this world even more striking. It features a distinctly dark sense of humor – for instance, a man may ask you to push a boulder into a well behind his house, but he will neglect to tell you that he has also thrown his wife into the bottom of that well ahead of time. Much of this dialogue is even written in rhyme, enhancing the otherworldly, fairy tale atmosphere. On top of that, nearly all dialogue is fully voice acted, with most voice actors delivering some eccentrically charming performances that make the game feel as if it’s a playable Disney film. The visuals look like they’re taken straight out of a Russian children’s book of fairy tales, while the music incorporates traditional instruments and language into an electronic, hip-hop fusion soundtrack that captures the cultural heritage that Yaga focuses on while connecting it to modern culture. Take the presentation and story together, and Yaga becomes a playable portrait of the lives and superstitions of Eastern European peasants.
However, this leads to the gameplay. Quests may be randomized each time you play, but nearly every one of them takes the same general format. One character will request help, and then Ivan will have to venture out into the world to fight some demons or recover an item. Worse yet, the levels are just as randomized in their procedurally generated design, and not in a particularly clever way, either: most of them likewise follow the same formula, being little more than arenas full of enemies connected by copy-and-paste environments. Many paths in each environment lead to nothing more than pointless dead ends. The combat has a satisfyingly simple basis, with basic moves like long- and close-range attacks, roll dodging, items to use, and a variety of different weapons to equip, although his trusty old hammer is generally the best choice. However, while this simplicity makes the combat enjoyable on its own, there is very little depth to it, and the inherently repetitive design of the mission only serves to highlight how paper-thin combat can be. Most battles involve little more than hacking away at enemies until they die, which becomes increasingly repetitive by the end of the roughly ten-hour campaign.
At the very least, the robust customization system helps add a little intrigue to the combat. As a blacksmith, Ivan is naturally gifted with the ability to craft weapons for himself to use. By scavenging parts and items from fallen enemies and treasure chests around the world, Ivan is able to create the most powerful weapons. Crafting is simple to use yet extremely ripe for experimentation, requiring only one base item and a handful of accessories to create unique new items. With dozens of components to discover and use in your forging, there are plentiful opportunities to create the best possible weapons.
“All told, Yaga achieves a bittersweet ending: it’s bitter as a game but sweet as a fairy tale.”
The crafting system would be the standout aspect of the moment-to-moment gameplay if it weren’t foiled by another one of the game’s systems: Bad Luck. Ivan has been cursed with perpetual Bad Luck, which grows constantly throughout the game – whenever something good happens, Bad Luck is sure to increase. Whenever the Bad Luck meter fills all the way, Likho will appear and strike Ivan, generally breaking one of his weapons or stealing his money.
On paper, this mechanic makes sense, since it prohibits the player from becoming too overpowered and also fits into the folklore style off the story. In practice, however, it is an infuriating limitation on player progression and invention. It effectively punishes players for putting thought and care into their weapon crafting and character-building – at any moment it can all be washed away in bad luck, so what’s the point? Considering how enjoyable the crafting and combat systems are, it’s a shame that Bad Luck seems to exist solely to diminish the very best parts of the gameplay, leaving the game feeling like it cripples itself.
Your enjoyment of Yaga depends heavily on what experience you want out of it. If you’re looking for a deep and satisfying RPG, then it likely won’t deliver. Although it features satisfying combat and customization systems, the frustrating randomization of its level design and Bad Luck system only serve to foil these good qualities. If you are instead looking for a faithful, fleshed-out image of Slavic cultural heritage, portraying both the harsh realities of peasant life along with its fanciful folklore, then Yaga is a clear triumph thanks to its emphasis on player choice, its excellent writing, and its beautiful hand-drawn visuals and inventive soundtrack. All told, Yaga achieves a bittersweet ending: it’s bitter as a game but sweet as a fairy tale.
‘Remothered: Tormented Fathers’ Review: I Want My Remummy
There’s merit to be had if you just want a quick bash at a quirky, indie horror game, but with so many flaws, I can’t recommend Remothered.
It feels like a while since the ‘survival horror but you can’t fight back’ genre was at its peak, especially with the recent, tradition-tinged revival of the Resident Evil series, but back in 2017 when Remothered: Tormented Fathers was being developed for PC it was all the rage. Like any indie game that’s had even the slightest amount of interest or acclaim during the current generation, Remothered has received the now-obligatory Switch port. Although its modest technical requirements clearly made a successful transition to the platform more than manageable, they don’t help to hide the game’s very obvious shortcomings.
Players take control of Rosemary Reed in her attempts to investigate retired notary Dr. Richard Felton, who is currently undergoing treatment for a mysterious disease. Oh, and he has a missing daughter that he probably murdered. The plot of the game feels a little cliché, but it’s undoubtedly its strongest facet. However, suspending your disbelief at the ropy animations and dodgy voice-acting is needed to avoid being sucked into feeling like you’re watching Theresa May running around a big mansion trying to escape from a John Cleese impersonator with his arse hanging out. Alas, I clearly failed in this endeavor.
Remothered is essentially a game of ‘go there, fetch that, bring it here, use it’ with an added element of ‘don’t let the annoying old man kill you in the face with a sickle’. Yeah, one of those ones. The story takes place almost entirely within Felton’s huge mansion, and navigating the ol’ girl is by far the game’s toughest element. It’s made especially harder while you’re constantly on edge, trying to avoid the stalking lunatic without a map, weapons, or a proper objectives system. Be prepared for your bearings to be quite considerably lost.
There are a couple of ways to avoid that face full of sickle. There’s a dodge button (provided Rosemary isn’t too tired to actually dodge), a run button, distraction items, and defense items that will automatically be used to escape a grab attack if you have one equipped at the time. Remember those crappy bits in Resident Evil 4 where you had to play as Ashley? This is like that… for a whole game.
While a little tired in 2019, there’s nothing inherently wrong with the formula of the weapon-less survival horror game – it’s just that in Remothered, it’s not implemented all that well. Enemy AI routing is weird, which should be grounds for an unpredictable fright-fest, but leans more toward the annoying and/or hilarious. It seemed like the stalkers would either sit directly outside the room I needed to enter – barely moving and refusing to be distracted for longer than a few seconds before returning immediately to their original spot right on my current objective – or simply bugger off to another floor and never come back.
Even with his penchant to completely vacate the area, and despite his advancing years, Dr. Felton possesses supersonic hearing. It seemingly doesn’t matter how far away you are – if you run in this game, he will hear you. To make matters worse, the sound design just doesn’t make sense. With every press of the run button, enemy dialogue would instantly change to indicate they’d heard you and then loud footsteps would permeate every room you enter as if they were right behind you, when they most certainly are not.
It’s either a cheap scare tactic to give the impression of enemies constantly being within touching distance, or the fallout from a combination of naff sound design and the limitations of my Switch’s Pro Controller not having a headphone port. What makes it worse is that everything is so campy that it’s seldom scary in any tangible way. When the man trying to murder you is constantly shouting about how he hasn’t got anything to eat that isn’t moldy while you hide in his cupboard, it’s not exactly bone-chilling.
As a result of the big-eared murderers and their impeccable radar tuned to the sounds of running, I spent almost the entirety of the game… well, not running. Unfortunately, Rosemary walks slower than an asthmatic ant with heavy shopping, and this made exploring the mansion a monotonous chore – especially when getting caught and subsequently having to run up and down floors to hide before slowly sneaking back to restart the investigation.
Puzzles are that old school type of obtuse where you’re tasked with finding everyday items to fix problems. The puzzle itself lies in realizing the item the developer decided should work, finding it in the giant four-floor mansion, and slowly returning to the its intended area of use without dying. For example, in order to get into an attic, you have to search rooms at random to find an umbrella to pull down the door’s previously-out-of-reach cord. It’s such a shame that Remothered eschews any type of self-contained puzzle for a string of confusing fetch quests, as everything feels more tedious than taxing.
It feels a little unfair to bemoan the lack of polish for a two-year-old indie game, but Remothered is full of niggling issues. Animations are janky, lip-syncing is non-existent, and the camera wigs out after the QTEs to fight off enemies have finished – always pointing you in the wrong direction. I also encountered a couple of game-breaking bugs where Rosemary did her door-opening animation without the door actually opening, and I couldn’t enter the room without rebooting the game. Lastly, and I don’t want to be too harsh to an Italian developer, but the in-game English is pretty abysmal, and lots of the game’s expositional notes and articles border on illegible through their poor translations.
There are some people out there who can’t get enough of the whole hiding under sofas schtick, but I like my survival horror games with better psychological tension, a (limited) means to fight back, and coherent puzzle-solving. There’s merit to be had in the game’s labyrinthine setting and short length if you just want a quick bash at a quirky, campy indie horror game in the Haunting Grounds model, but with so many flaws and such a frustrating gameplay loop, I can’t recommend Remothered: Tormented Fathers outside of anything other than morbid curiosity.
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