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‘The Sinking City’: One Step Beyond Madness



The Sinking City

Published by Bigben Interactive and developed by Frogwares, The Sinking City looks set to place a fresh emphasis on two long-neglected aspects of Lovecraftian videogames; discovery and investigation. The recently revealed details about the mechanics and systems of these processes of revelation, including the time-warping retrocognition feature, have reaffirmed my decision to name The Sinking City as one of my most anticipated games of this year.

As we saw with Cyanide Studio’s Call of Cthulhu in late 2018 and the ill-fated Alone in the Dark games, adapting this particular intellectual property to gaming platforms has proven especially difficult. Perhaps that’s a problem with the source material itself being so inherently unusual (even by the standards of gothic horror) more than a failure of creative ambition on the part of previous development teams that have tried to tackle Lovecraft’s loosely connected sequence of nightmarish narratives. All-too-often, developers try and bend Lovecraft’s work to their will in the hopes of creating barely adequate gunplay-based action titles only to fail repeatedly. The unspeakable monstrosities of the Cthulhu mythos are not your common or garden variety of ferocious interdimensional beasts. Able to sculpt the very flesh of reality and drive even the stoutest soul to the darkest recesses of madness, they are in essence a manifestation of the twisted whims that bubble beneath our civilized facades. For the most part, they require a more subtle approach; but it never hurts to pack a shotgun, just in case.

Frogwares are best known for their popular series of critically acclaimed Sherlock Holmes games, and the experience they’ve garnered over the years is on proud display in their latest offering. The developers have paid close attention to the central force that drives any good mystery story. The gradual acquisition of clues, the methodical piecing together of information, and the thrill of dawning understanding are central components of what give great works of detective fiction their cultural longevity. No one can resist solving a good puzzle, but in the cursed city of Oakmont there might be some puzzles best left unsolved.

All great detective stories share a common factor: the non-linear potential for discovery. As such, Frogwares have made absolutely sure that the player’s experience as war veteran turned detective Charles Reed, and his struggle against insanity from without and within will be as freeform as possible. To invest players in the actual mechanics of solving a mystery, there are no objective markers on the map and no task will ever be as straightforward as it might seem. The simple act of traversing the city and encountering its many unconventional inhabitants will slowly reveal different clues that will guide players to uncovering the method behind the madness afoot in this twisted version of 1920s America. In-game advice to help players navigate some of the more convoluted elements of the plot will be available, but purists will no doubt want to turn off those hints. As such, some evidence will be obvious enough that there’s a clear indication of how to proceed, but other clues will need a more thorough investigation.

The retrocognition system is one of the primary tools in Reed’s analytical arsenal. If you want an idea of how this system works, then think of detective vision from Rocksteady’s Arkham series of games but with a supernatural twist. The boundary between dimensions in Oakmont is frayed at best, and fractures in time give players the opportunity to take a glimpse beyond the veil to piece together events as they transpired. Searching through the archives of various institutions and talking to law enforcement officers, allows players to gather crucial hints that will help them determine who or what is behind the various macabre crimes that plague the city. Even though you might not be sure about exactly what to do next, there will always be something to point you in the right direction; it’s just a matter of finding it, and then probably wishing that you hadn’t.

Keeping track of all that information might be a task that could drive even the Great Old Ones to madness, but thankfully The Sinking City provides players with just the right tools for the job. The Casebook functions as a journal that updates as Reed fleshes out the details of his various objectives. Couple that with the mind palace system, where players are given the opportunity to work through the information they’ve gathered to determine who they believe is guilty or innocent of all manner of occult atrocities. The outcome of each case depends entirely on the evidence that players collect, the information they obtain, and their own interpretation of the facts as they stand. No matter who Reed decides to accuse or absolve of each crime, rightly or wrongly, the outcome will have a measurable impact on the wretched lives of the inhabitants of Oakmont, and on Reed’s own quest to rid himself of his burgeoning insanity.

The attempt to explain the otherwise inexplicable has always been a central thread of Lovecraft’s fiction, and The Sinking City is promising to be the most faithful adaptation of the mythos released to date. Fans of survival horror games who might be newcomers to the Cthulhu mythos will find this game to offer captivating and intriguing variations on established genre mechanics and narrative systems. For devoted fans, Frogwares’ most ambitious game thus far, might just be the Lovecraft game that they have spent years saying forbidden prayers for. Whether or not those prayers are answered remains to be seen, however. Initially slated for a late March launch, the developers elected to push the release date back to June this year. Such delays are often a cause for concern, but hopefully, the extra time allows the talented Ukrainian developers to solve any late-stage issues and add that little extra polish needed to make this a truly memorable game. If initial indications are anything to go by, then gamers on PC, PS4, and Xbox One can look forward to taking the plunge into The Sinking City on March 21, 2019.

Chris is a Cambridge, UK based freelance writer and reviewer. A graduate of English Literature from Goldsmiths College in London he has been composing poetry and prose for most of his life. More than partial to real ale/craft beer and a general fan of sci-fi and fantasy. He first started gaming on a borrowed Mega Drive as a child and has been a passionate enthusiast of the hobby and art form ever since. Never afraid to speak his mind he always aims to tell the unvarnished truth about a game. Favourite genres: RPGs, action adventure and MMOs. Least favourite genre: anything EA Sports related (they're the same games every year!)

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Most Important Games of the Decade: ‘Dark Souls’

Despite the difficulty and learning curve, gamers are still flocking to the Dark Souls series, and the genre it spawned, in massive numbers.



Dark Souls Remastered Review Nintendo Switch

Over the course of the last decade a lot of games have made large and influential impacts on the medium of gaming but few have done so as significantly or triumphantly as Dark Souls

The pseudo-sequel to Demon’s Souls, Dark Souls took the framework of the original title and altered it considerably. Gone were the many individual stages and hub area, replaced by a massive open world that continuously unfolded, via shortcuts and environmental changes, like a massive metroidvania style map. 

Dark Souls also doubled down on nearly every aspect of the original. The lore and world-building were elaborated on considerably, making the land of Lordran feel more lived in and expansive. An entire backstory for the game, one that went back thousands of years, was created and unfolded through small environmental details and item descriptions. 


The bosses were bigger, meaner and more challenging, with some of them ranking right up there with the best of all time. Even standard enemies seemed to grow more deadly as the game went on, with many of them actually being bosses you’d faced at an earlier time in the game. Tiny details like this didn’t just make the player feel more powerful, they added to the outright scale of the entire game.

Still, if we’re here to talk about the biggest influence Dark Souls had on the gaming world, we have to talk about the online system. While the abilities to write messages and summon help were available in Demon’s Souls, Dark Souls improved on and enhanced these features to the point where they changed the game considerably. 

The wider player base made the online components work more consistently as well. Rarely were players left standing around for 15-20 minutes waiting to summon or be summoned for a boss fight. There were more messages on the ground to lead (or mislead) players, and the animated spirits of dead players warned of the hundreds of ways you might die while playing through the game. 

Dark Souls

The addictive nature of the game and its rewarding gameplay loop would lead to the establishment of the Souls-like genre. Like with metroidvania, there are few compliments a game can receive that are as rewarding as having an entire genre named for them.

Since 2011, the year of Dark Souls’ release, dozens of Souls-likes have emerged from the ether, each with their own little tweaks on the formula. Salt and Sanctuary went 2D,The Surge added a sci-fi angle, and Nioh went for a feudal Japanese aesthetic, to name just a few. 

Either way, Dark Souls’ influence has been long felt in the gaming industry ever since. Despite the hardcore difficulty and intense learning curve, gamers are still flocking to the series, and the genre it spawned, in massive numbers. For this reason alone, Dark Souls will live on forever in the annals of gaming history. 

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Game Reviews

‘Riverbond’ Review: Colorful Hack’n’Slash Chaos



Sometimes a little bit of mindless smashing is just what people play video games for, and if some light sword-swinging, spear-stabbing, laser-shooting giant hand-slapping action that crumbles a destructible world into tiny blocks sounds like a pleasant way to spend a few hours, then Riverbond might just satisfy that urge. Though its short campaign can get a little repetitive by the end, colorful voxel levels and quirky characters generally make this rampaging romp a button-mashing good time, especially if you bring along a few friends.

Riverbond grass

There really isn’t much of a story here outside something about some mystical leaders being imprisoned by a knight, and Riverbond lets players choose from its eight levels in Mega Man fashion, so don’t go in expecting some sort of narrative thread. Instead, each land has its own mini-situation going on, whether that involves eradicating some hostile pig warriors or reading library books or freeing numerous rabbit villagers scattered about, the narrative motivation is pretty light here. That doesn’t mean that these stages don’t each have their various charms, however, as several punnily named NPCs will blurt out humorous bits of dialogue that work well as breezy pit stops between all the cubic carnage.

Developer Cococucumber has also wisely created plenty of visual variety for their fantastical world, as players will find their polygonal hero traversing the lush greenery of grassy plains, the wooden piers of a ship’s dockyard, the surrounding battlements of a medieval castle, and the craggy outcroppings of a snowy mountain, among other locations, each with a distinct theme. Many of the trees or bridges or crates or whatever else happens to be lying around are completely destructible, able to be razed to the ground with enough brute force. Occasionally the physics involved in these crumbling structures helps gain access to jewels or other loot, but this mechanic mostly just their for the visual appeal one gets from cascading blocks; Riverbond isn’t exactly deep in its design.

Riverbond boss

That shallowness also applies to the basic gameplay, which pretty much involves hacking or shooting enemies and environments to pieces, activating whatever task happens to be the main goal for each sub-stage, then moving on or scouring around a bit for treasure before finally arriving at a boss. Though there are plenty of different weapons to find, they generally fall into only a few categories: small swinging implements that allow for quick slashes, large swinging implements that are slow but deal heavier damage, spears that offer quick jabs, or guns that…shoot stuff. There are some variations among these in speed, power, and possible side effects (a gun that fired electricity is somewhat weak, but sticks to opponents and gives off an extra, devastating burst), but once an agreeable weapon is found, there is little reason to give it up outside experimentation.

Still, there is a rhythmic pleasure to be found in games like this when they are done right, and Riverbond mostly comes through with tight controls, hummable tunes, and twisting levels that do a good job of mixing in some verticality to mask the repetitiveness. It’s easy for up to four players to get in on the dungeon-crawling-like pixelated slaughter, and the amount of blocks exploding onscreen can make for some fun and frenzied fireworks, especially when whomping on one of the game’s giant bosses. A plethora of skins for the hero are also discoverable, with at least one or two tucked away in locations both obvious and less so around each sub-stage. These goofy characters exist purely for aesthetic reasons, but those who prefer wiping out legions of enemies dressed as Shovel Knight or a sentient watermelon slice will be able to fulfill that fantasy.

Riverbond bears

By the end, the repetitive fights and quests can make Rivebond feel a little same-y, but the experience wraps up quickly without dragging things out. This may disappoint players looking for a more involved adventure, but those who sometimes find relaxation by going on autopilot — especially with some buddies on the couch — will appreciate how well the block-smashing basics are done here.

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Game Reviews

‘Earthnight’ Review: Hit the Dragon Running

Between its lush visuals and its constantly evolving gameplay, Earthnight never gets old, from the first dragon you slay to the hundredth.




In Earthnight, you do one thing: run. There’s not much more to do in this roguelike auto-runner but to dash across the backs of massive dragons to reach their heads and strike them down. This may be an extremely simple gameplay loop, but Earthnight pulls it off with such elegance and style. Between its lush comic book visuals and its constantly evolving gameplay, it creates an experience that never gets old, from the first dragon you slay to the hundredth.

Dragons have descended from space and are wreaking havoc upon humanity. No one is powerful enough to take them down – except for the two-player characters, Sydney and Stanley, of course. As the chosen ones to save the human race, they must board a spaceship and drop from the heavens while slaying as many dragons on your way down as they can. For every defeated creature, they’ll be rewarded with water – an extremely precious resource in the wake of the dragon apocalypse. This resource can be exchanged for upgrades that make the next run that much better.

This simple story forms the basis for a similarly basic, yet engaging gameplay loop. Each time you dive from your spaceship, you’ll see an assortment of dragons to land on. Once you make a landing, you’ll dash across its back and avoid the obstacles it throws at you before reaching its head, where you’ll strike the final blow. Earthnight is procedurally generated, so every time you leap down from your home base, there’s a different set of dragons to face, making each run feel unique. There are often special rewards for hunting specific breeds of dragon, so it’s always exciting to see the new set of creatures before you and hunt for the one you need at any given moment.

“[Earthnight is] an acrobatic, dragon-hunting ballet that only becomes more beautifully extravagant with every run.”


Landing on the dragons is only the first step to slaying them. Entire hordes of monsters live on their backs, and in true auto-runner fashion, they’ll rush at you with reckless abandon from the very start. During the game’s first few runs, the onrush of enemies can feel overwhelming. Massive crowds of them will burst forth at once, and it can feel impossible to survive their onslaughts. However, this is where Earthnight begins to truly shine. The more dragons you slay, the more upgrade items become available, which are either given as rewards for slaying specific dragons or can be purchased with the water you’ve gained in each run. Many of these feel essentially vital for progression – some allow you to kill certain enemies just by touching them, whereas others can grant you an additional jump, both of which are much appreciated in the utter chaos of obstacles found on each dragon.

Procedural generation can often result in bland or repetitive level design, but it’s this item progression system that keeps Earthnight from ever feeling dry. It creates a constant sense of improvement: with more items in your arsenal after each new defeated dragon, you’ll be able to descend even further in the next run. This makes every level that much more exciting: with more power under your belt, there are greater possibilities for defeating enemies, stacking up combos, or climbing high above the dragons. It becomes an acrobatic, dragon-hunting ballet that only becomes more beautifully extravagant with every run.


At its very best, Earthnight feels like a rhythm game. With the perfect upgrades for each level, it becomes only natural to bounce off of enemies’ heads and soar through the heavens with an almost musical flow. The vibrant chiptune soundtrack certainly helps with this. Packed full of driving beats and memorable melodies with a mixture of chiptune and modern instrumentation, the music makes it easy to charge forward through whatever each level will throw your way.

That is not to say that Earthnight never feels too chaotic for its own good – rather, there are some points where its flood of enemies and obstacles can feel too random or overwhelming, to the point where it can be hard to keep track of your character or feel as if it’s impossible to avoid enemies. Sometimes the game can’t even keep up with itself, with the performance beginning to chug once enemies crowd the screen too much, at least in the Switch version. However, this is the exception, rather than the rule, and for the most part, simply making good use of its upgrades and reacting quickly to the challenges before you will serve you well in your dragon-slaying quest.


Earthnight is a race that’s worth running time and time again.”

It certainly helps that Earthnight is a visual treat as well. It adopts a striking comic book style, in which nearly every frame of animation is lovingly hand-drawn and loaded with detail. Sometimes these details feel a bit excessive – some characters are almost grotesquely detailed, with the faces of the bobble-headed protagonists sometimes seeming too elaborate for comfort. However, in general, it’s a gorgeous game, with its luscious backdrops of deep space and high sky, along with creative monsters and dragon designs that only get more outlandish and spectacular the farther down you soar.

Earthnight is a competent auto-runner that might not revolutionize its genre, but it makes up for this simplicity by elegantly executing its core gameplay loop so that it constantly changes yet remains endlessly addictive. Its excellent visual and audio presentation helps to make it all the more engrossing, while it strikes the perfect balance between randomized level design and permanent progression thanks to its items and upgrades system. At times it may get too chaotic for its own good, but all told, Earthnight is a race that’s worth running time and time again.

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