![]() ![]() But the underlying story doesn’t share this steadiness and slowly unravels in ways you don’t want it to. At points, it made me as scared as the quieter moments of Resident Evil 7 and Layers of Fear. ![]() Sometimes, the fear of your surroundings ramps up foreboding terror, whether it’s from purposeful misdirection or outright jump scares, is consistently well delivered. Personal bonds are limited and the escapade feels all the more intimidating–something the game leverages consistently well through its limited core mechanics, specifically the camera and radio. The rotten-feeling Timberland is incredibly unnerving, despite it being your former home then again, it’s still a hotel, not the comparatively cozy Oregonian house of Gone Home. The game's opening sequence is very well realized. This intimate initial narrative soon falls away and before you know it, you’re in the dark, foreboding garage of the hotel, about to begin your slow trudge around the dated building. You start by reading an increasingly tear-stained letter, with pages punctuated by a top-down, rainsoaked shuffle through a crowd of umbrella-wielding mourners at a graveyard. Unsurprisingly, something feels very wrong from the beginning–something made all the more impactful by its high-art introduction. It’s rendered with impressive, often Scandi-noir visuals, throwing all sorts of minor details your way from the very start to create a setting that pairs perfectly with the initial story. ![]() What’s more, a lot of hard work has been put into its layout I wouldn’t be surprised if the developers used a real hotel floorplan. I don’t know if it’s the game’s low price point or just the endless comparisons to the 2013 game, but I was expecting something much smaller and lo-fi. While drawing a lot of obvious comparisons in previews with Gone Home, the hotel setting of Rachel Foster soon feels worlds apart from its predecessor. A believable, beautiful and atmospheric environment ![]()
0 Comments
Leave a Reply. |