This is probably the only games where the limitations of the system added to the atmosphere of the game, rather than detracting from it. The draw distance disguising fog meant that you would wander around the deserted town, minding your own business, when off in the fog somewhere you’d hear some horrible cry. It’s probably a monster wanting to eat your face off, Harry! RUN! And if you can’t run, I guess you’d better fight! Good luck getting that heavy iron bar over your head! It’s the eternal question, did the combat suck because of bad design, or did it suck because Harry was just a normal dude, and therefore WOULD suck at combat?
Speaking of our hero Harry, is it just me or does he only repeat the same three or four lines throughout the whole game? If he’s not asking ‘What’s going on?’ or ‘what is this?’, he’s asking after his daughter Cheryl. She wandered off into the fog and now he has to ask everyone, ‘Have you seen a little girl? Short black hair? Seven years old?’ Bloody hell, put up some posters and save your voice mate.
Written by: Siobhan Harper
It’s all understated terror, but it’s done to perfection. It’s things like the disembodied crying in the school toilets, the unexplained bodies hanging in the ‘otherworld’, or the entire disjointed feel of the ‘nowhere’ section that really get under your skin and set you on edge. I didn’t seek to plonk an easy villain in front of you, a la the zombie of Resident Evil, and be on its way. It made you question everyone and everything that happened to you as you played.
If you haven’t played it yet (and really, you haven’t by this point? Really?), then I highly, highly suggest you seek out a copy and see how horror games should be done.