A visual novel in the purest sense. You're essentially just hearing someone read the short story of the same name to you, only accompanied by imaginative portrayals of what Lovecraft described on the page(s). You can pan the camera around and zoom in on each scene to look for hidden "elder signs" that will unlock trivia facts about the author and subject matter, but for the most part your interaction doesn't extend much beyond simply clicking the next onscreen prompt to continue the tale.
Given how the source material consists of little more than a couple thousand words, this is something that can be completed in literally minutes. As a result, the devs have rightfully released it for free. Actually, in a really cool move all the proceeds from the two paid DLC packs, which offer up some legitimately neat goodies like an adaptation of a 7 year old Lovecraft's The Little Glass Bottle in the same style, that were originally intended for them to potentially make a little money off the project after launch are instead being donated to help the war victims in Ukraine. A nice bit of humanity I thought was worth sharing.
Absent a pricetag or not however, with such a limited amount of engagement required on the player's part and an incredibly short lifespan to boot, one might be asking why they should bother with it at all. Yet, I'd say if you have even a passing interest in the Cthulhu mythos this is worth your time. To put it bluntly, I enjoyed experiencing Dagon more this way than I did actually reading it in its purely written form as it's far from one of its author's most exciting works. It makes a classic piece of literature more entertaining and without asking for a single penny from you. There's even VR support. That's a win in my book. Just turn off that darn motion blur.
7/10
Given how the source material consists of little more than a couple thousand words, this is something that can be completed in literally minutes. As a result, the devs have rightfully released it for free. Actually, in a really cool move all the proceeds from the two paid DLC packs, which offer up some legitimately neat goodies like an adaptation of a 7 year old Lovecraft's The Little Glass Bottle in the same style, that were originally intended for them to potentially make a little money off the project after launch are instead being donated to help the war victims in Ukraine. A nice bit of humanity I thought was worth sharing.
Absent a pricetag or not however, with such a limited amount of engagement required on the player's part and an incredibly short lifespan to boot, one might be asking why they should bother with it at all. Yet, I'd say if you have even a passing interest in the Cthulhu mythos this is worth your time. To put it bluntly, I enjoyed experiencing Dagon more this way than I did actually reading it in its purely written form as it's far from one of its author's most exciting works. It makes a classic piece of literature more entertaining and without asking for a single penny from you. There's even VR support. That's a win in my book. Just turn off that darn motion blur.
7/10
While at its Core, Dagon is really nothing more than a HP Lovecraft audio book with some 3d environments to provide visual accompaniment to the horrors being described, but really, Dagon is also a testament to how much a genuine passion can end up affecting a piece of art. I really feel like a lot of the spirit of Lovecraft's writing style and atmosphere was translated into every facet of this experience, especially in the way that the more horrific elements were handled. Everything feels shrouded in this haze of vagueness, revealing just enough to instil fear and discomfort, letting the player's imagination fill in a lot of the gaps. This is especially true for how the endless ocean hellscape was portrayed, as while it's first strange but nothing too special seeming, it slowly feels as if it eats away at you as you're seeing screen after screen in this setting with this expanse feeling completely unchanging, really tapping into that more gradual descent.
I also really love the trivia in this and gaining those tiny bits of insight into Lovecraft. This gave another element of drive to the game, knowing that you won't only get to continue watching the story unfold before you, but often learning some interesting facts along the way. Really my main criticism is just that I found the camera angles and how far you could look around to be pretty inconsistent and occasionally annoying in how it'd seem to be constrained almost arbitrarily, which made looking around and examining the environment less easy than it should have been. Even so, this was a great little game and I'm looking very forward to seeing what else the developer will make in the future, because I love this kind of stuff, especially when done so well.
I also really love the trivia in this and gaining those tiny bits of insight into Lovecraft. This gave another element of drive to the game, knowing that you won't only get to continue watching the story unfold before you, but often learning some interesting facts along the way. Really my main criticism is just that I found the camera angles and how far you could look around to be pretty inconsistent and occasionally annoying in how it'd seem to be constrained almost arbitrarily, which made looking around and examining the environment less easy than it should have been. Even so, this was a great little game and I'm looking very forward to seeing what else the developer will make in the future, because I love this kind of stuff, especially when done so well.
Essentially a HP Lovecraft story turned into a visual novel/walking simulator (heavily leaning forward the former) and honestly, a pretty solid one at that
Dagon trata-se apenas de uma narração da história original de Lovecraft com gráficos para acompanhar. A história original, que já havia lido há alguns anos, é boa e o jogo faz um trabalho ok em fazê-la tomar vida na tela do computador. Eu diria que as monstruosidades de Lovecraft são mais interessantes quando suas aparências físicas são deixadas para a imaginação do leitor ao invés de representadas graficamente, mas o jogo é satisfatório ao nunca as mostrar com detalhes, limitando-se a silhuetas no escuro e membros parcialmente visíveis.
O que mais me incomodou é o fato de que o jogo é completamente nos trilhos e não te dá nem mesmo a liberdade de caminhar sobre o cenário em que você se encontra. O jogador pode apenas girar a câmera para olhar ao redor e apertar espaço para seguir a narrativa. Além disso, a ideia de adicionar colecionáveis num jogo como esse é no mínimo questionável e, na minha visão, serve apenas para tirar o foco da narrativa e ambientação.
O que mais me incomodou é o fato de que o jogo é completamente nos trilhos e não te dá nem mesmo a liberdade de caminhar sobre o cenário em que você se encontra. O jogador pode apenas girar a câmera para olhar ao redor e apertar espaço para seguir a narrativa. Além disso, a ideia de adicionar colecionáveis num jogo como esse é no mínimo questionável e, na minha visão, serve apenas para tirar o foco da narrativa e ambientação.
played this in vr. would like to see this kinda thing done with other short stories. finding hidden trivia and stuff was fun but either im really stupid or some of it is impossible to find in vr?
Short little barely-interactive narrative experience adapting the HP Lovecraft story. Not much to it, but offers a well-done cosmic horror vibe given its simplicity and the limited resources with which I assume it was developed.
Not a typical game per se, but rather Dagon was a visual retelling of Lovecraft's classic short story of the same name. There’s no denying that Lovecraft has had a monumental impact on media today—you can find inspiration from his work literally everywhere— so allowing people to experience his stories in different forms is a respectable undertaking.
For a free product this adaptation was excellent, complete with quality voice acting. All that was required was to point and click through the story, so it was low effort while still being entertaining. I was also somewhat educational with facts about the author himself, as well as his other works.
For a free product this adaptation was excellent, complete with quality voice acting. All that was required was to point and click through the story, so it was low effort while still being entertaining. I was also somewhat educational with facts about the author himself, as well as his other works.
Dagon was a short experience, but a spectacular interactive novel game that I thoroughly enjoyed. It was free on stream, so I decided to check it out; and I'm glad I did. Eerie atmosphere that perfectly captured the tone of the story, and a great way for someone like me to read more.
A neat idea for a visual novel retelling of one of Lovecraft's stories. Unfortunately the visuals are pretty basic and uninteresting, with some really flat lighting as well. And when looking at the visuals makes up half the experience... yeah not great. Voice acting was good though.
no hay mucho que decir, es una adaptación de uno de los pocos cuentos de lovecraft que leí, experimentarlo asi con un narrador y piezas visuales fue una linda experiencia
An incredibly well-made short interactive Lovecraftian visual novel. But I expected see some more monsters.
Basically interactive novel. It does feel like it is made with love and care and I would recommend it if you're a fan of Lovecraft.
Uma experiência incrível e fiel sobre um dos mais famosos contos do Lovecraft. O jogo é imersivo, onde você utiliza apenas o mouse para clicar, mas que a ambientação casada à sonoplastia e à dublagem te deixam preso à experiência. Fico muito feliz em poder jogá-lo, visto que normalmente não conseguem adaptar as obras de Lovecraft com resultados positivos como elas merecem ter. Mas, aqui, isso foi alcançado. Estou ansioso para que mais contos sejam transformados em jogos diretos e de respeito para com a obra imortal de H.P. Lovecraft.
no me convence
Esse jogo passa uma vibe bem boa eu diria, fiquei imersivo, alem de ter varias curiosidades durante toda a jornada.
Eu não conheço muito as historias de Lovecraft, porem gostei bastante do que vi.
Recomendo, é de graça e de bônus ta em Pt-Br.
Eu não conheço muito as historias de Lovecraft, porem gostei bastante do que vi.
Recomendo, é de graça e de bônus ta em Pt-Br.
‘I believe I sang a great deal, and laughed oddly when I was unable to sing.’
The Cthulhu Mythos has always faced serious challenges when adapted. Whether on the big screen or in video games, the Lovecraftian material remains difficult to handle and the various attempts – generally bad or mediocre – fail to capture the unspeakable that constitutes the heart of the argument. Hence, the official Call of Cthulhu game (2018) struggles to convince, both due to its conservative gameplay and its disappointing scenery. Richard Stanley's Color Out of Space (2019) opts for a very different tone from the short story, for better or worse. Admittedly, different authors have been able to reinterpret the Mythos or Lovecraftian intention over the decades, but obliquely, to compensate for the dissipation of the mystery when images are added, such as WORLD OF HORROR (2020).
Another major problem haunts the adaptations: that of Lovecraft's moral and political positions, yet integral to his work. For several decades, it has been said that his creations were timeless and had no bearing on the events that shook the early 20th century. This fantasized vision of an apolitical Lovecraft is doubly wrong; first of all, it is factually false, since Lovecraft was inserted into the press milieu via his newspaper. Furthermore, it aims to erase the author's blatantly racist and sexist heritage, despite the fact that it forms the basis of many of his stories. To Bit Golem's credit, the game is punctuated with contextualisation elements that remind players of this essential facet of the author. However, one can sense the difficulty the studio has to organically incorporate it into their adaptation.
Dagon is a full transcription of the eponymous short story written by Lovecraft in 1917, foreshadowing his writing style for the years to come. Where other short stories from the same period, such as The Tomb (1922) or Polaris (1920), appear conservative in style and form, with ample inspiration from Poe and Dunsany, Dagon contains the main elements that would become recurrent in the Lovecraftian corpus – a traumatized anti-hero recounting his experience, to which more or less credit can be given. The title recites the text of the short story with a voiceover and the player progresses through it by interacting with objects in the setting. Sometimes a scene contains an Elder Sign, unlocking the famous contextualisation elements, more or less artificially chosen, denoting a concern for historical analysis.
Dagon's short story was written when Lovecraft was frustrated by his inability to participate in the Great War. Surprisingly enough, Bit Golem emphasises Lovecraft's pacifist stance, but completely sidesteps his racial interpretation of the war. For the author, it represents an aberration in the sense that the English and the Germans – whom he regroups racially under the banner of the Teutons – were clashing, leading to the collapse of humanity and the superior races, to the benefit of the inferior races. This extremely racist vision is reflected in the narrator's empathy for the Germans and feeds Lovecraft's conservative rhetoric, also found when he castigates alcohol and the drugs the protagonist uses to soothe his nightmares. How does one adapt these elements into a video game? Bit Golem makes the choice, often the most common one, of completely ignoring this conservative background. Likewise, when the narrator discusses with a scholar, the latter is never shown, both to save graphic assets and to avoid having to confront the Lovecraftian representations of the academics of the big cities: it is known, however, that Lovecraft is halfway between the disgust of the provincials' superstitious practices and the absolute scientism of the establishment – noticeable in The Color Out of Space (1927) or The Shadow over Innsmouth (1936).
Instead, the title focuses on depicting the environments of the story, with mixed success. If the interior environments are generally successful – special mention to the last scene –, the poor graphic assets barely convey the horror of the mire rising from the sea. The choice to render a realistic representation hardly works; it is rather in the abstract that the game succeeds best. The mound on the horizon is rather effective, with adventurous and mysterious accents echoing The Shadow Out of Time (1935) or At the Mountains of Madness (1936). Conversely, the overly smooth representation of the monolith ruins the indescribable, abstract attraction that the protagonist was feeling. The stone block looks too artificial and it is difficult not to smile when the narrator mentions the envy that Gustave Doré would have felt towards these few graffiti that fail to measure the inhumanity of the submarine civilisation.
Along the same lines, when the narrator is standing atop the mountain, he mentions the visions of Milton's Paradise Lost (1667) running through his mind. Whilst it can be left to the player's imagination by showing, as Bit Golem does, a completely black background, it seems to me that it would have been wise to adapt this reference through visuals. The Miltonian aestheticism permeates Lovecraft's work, if only through the depiction of a fragile and abandoned humanity within the universe, mocked repeatedly by Satan. The ascent of the mountain in Dagon is similar to that of Satan, and Gustave Doré actually produced illustrations of it to accompany the 1866 edition, which Lovecraft owned [1]. The mountainous chasms and steep peaks, carving out wicked depths, would have been most welcome to give texture to the narrator's journey across the forsaken island. Another possibility was to draw on the frightfulness of Henry Fuseli's paintings, a famous admirer of Milton, whom Lovecraft mentions in Pickman's Model (1927). The sequence where the narrator stands over the dark, murky abyss constitutes the peak of the narrative tension, through the invocation of the Paradise Lost imaginary. However, the very text-specific approach of Bit Golem misses the intertexuality of the short story, thus losing its evocative power: it is a shame, since the entire aesthetic universe of Miltonian Chaos is of rare richness. For this reason, the choice of italicising or bolding certain words in the story – often related to madness, strangeness or more generally terms with a negative connotation – must be considered odd, as if aimed at artificially underlining the horror of the tale. Instead, the studio emphasises the impossibility of transcribing it through visuals and casts doubt on the relevance of a game adaptation.
Dagon is nevertheless a free experience and it would be wrong to ask too much of it. The technical production is passable and suffices to set the mood; likewise, the atmospheric soundtrack is unremarkable, but achieves its purpose. Given the contextual information, one would have thought that Bit Golem would have understood Lovecraft's aesthetic project, both in its intertextuality and in the racist background, both of which represent important challenges for any adaptation: the studio chose to avoid both, ultimately resulting in a title that, if not terrible, barely says anything and fails to reintegrate Lovecraft's material into a new creation. It is regrettable, but few have managed to take up this complex task, while acknowledging a political discourse in tune with our contemporary society. Let us rather underline the effort of the creators and the fact that they have donated the earnings from the DLC to the victims of the war in Ukraine.
_________
[1] Christopher Cuccia, ‘A Bridge through Chaos: The Miltonic in ‘Dagon’ and Lovecraft’s Greater Cthulhu Mythos’, in Lovecraft Annual, no. 15, 2021, pp. 102-127.
The Cthulhu Mythos has always faced serious challenges when adapted. Whether on the big screen or in video games, the Lovecraftian material remains difficult to handle and the various attempts – generally bad or mediocre – fail to capture the unspeakable that constitutes the heart of the argument. Hence, the official Call of Cthulhu game (2018) struggles to convince, both due to its conservative gameplay and its disappointing scenery. Richard Stanley's Color Out of Space (2019) opts for a very different tone from the short story, for better or worse. Admittedly, different authors have been able to reinterpret the Mythos or Lovecraftian intention over the decades, but obliquely, to compensate for the dissipation of the mystery when images are added, such as WORLD OF HORROR (2020).
Another major problem haunts the adaptations: that of Lovecraft's moral and political positions, yet integral to his work. For several decades, it has been said that his creations were timeless and had no bearing on the events that shook the early 20th century. This fantasized vision of an apolitical Lovecraft is doubly wrong; first of all, it is factually false, since Lovecraft was inserted into the press milieu via his newspaper. Furthermore, it aims to erase the author's blatantly racist and sexist heritage, despite the fact that it forms the basis of many of his stories. To Bit Golem's credit, the game is punctuated with contextualisation elements that remind players of this essential facet of the author. However, one can sense the difficulty the studio has to organically incorporate it into their adaptation.
Dagon is a full transcription of the eponymous short story written by Lovecraft in 1917, foreshadowing his writing style for the years to come. Where other short stories from the same period, such as The Tomb (1922) or Polaris (1920), appear conservative in style and form, with ample inspiration from Poe and Dunsany, Dagon contains the main elements that would become recurrent in the Lovecraftian corpus – a traumatized anti-hero recounting his experience, to which more or less credit can be given. The title recites the text of the short story with a voiceover and the player progresses through it by interacting with objects in the setting. Sometimes a scene contains an Elder Sign, unlocking the famous contextualisation elements, more or less artificially chosen, denoting a concern for historical analysis.
Dagon's short story was written when Lovecraft was frustrated by his inability to participate in the Great War. Surprisingly enough, Bit Golem emphasises Lovecraft's pacifist stance, but completely sidesteps his racial interpretation of the war. For the author, it represents an aberration in the sense that the English and the Germans – whom he regroups racially under the banner of the Teutons – were clashing, leading to the collapse of humanity and the superior races, to the benefit of the inferior races. This extremely racist vision is reflected in the narrator's empathy for the Germans and feeds Lovecraft's conservative rhetoric, also found when he castigates alcohol and the drugs the protagonist uses to soothe his nightmares. How does one adapt these elements into a video game? Bit Golem makes the choice, often the most common one, of completely ignoring this conservative background. Likewise, when the narrator discusses with a scholar, the latter is never shown, both to save graphic assets and to avoid having to confront the Lovecraftian representations of the academics of the big cities: it is known, however, that Lovecraft is halfway between the disgust of the provincials' superstitious practices and the absolute scientism of the establishment – noticeable in The Color Out of Space (1927) or The Shadow over Innsmouth (1936).
Instead, the title focuses on depicting the environments of the story, with mixed success. If the interior environments are generally successful – special mention to the last scene –, the poor graphic assets barely convey the horror of the mire rising from the sea. The choice to render a realistic representation hardly works; it is rather in the abstract that the game succeeds best. The mound on the horizon is rather effective, with adventurous and mysterious accents echoing The Shadow Out of Time (1935) or At the Mountains of Madness (1936). Conversely, the overly smooth representation of the monolith ruins the indescribable, abstract attraction that the protagonist was feeling. The stone block looks too artificial and it is difficult not to smile when the narrator mentions the envy that Gustave Doré would have felt towards these few graffiti that fail to measure the inhumanity of the submarine civilisation.
Along the same lines, when the narrator is standing atop the mountain, he mentions the visions of Milton's Paradise Lost (1667) running through his mind. Whilst it can be left to the player's imagination by showing, as Bit Golem does, a completely black background, it seems to me that it would have been wise to adapt this reference through visuals. The Miltonian aestheticism permeates Lovecraft's work, if only through the depiction of a fragile and abandoned humanity within the universe, mocked repeatedly by Satan. The ascent of the mountain in Dagon is similar to that of Satan, and Gustave Doré actually produced illustrations of it to accompany the 1866 edition, which Lovecraft owned [1]. The mountainous chasms and steep peaks, carving out wicked depths, would have been most welcome to give texture to the narrator's journey across the forsaken island. Another possibility was to draw on the frightfulness of Henry Fuseli's paintings, a famous admirer of Milton, whom Lovecraft mentions in Pickman's Model (1927). The sequence where the narrator stands over the dark, murky abyss constitutes the peak of the narrative tension, through the invocation of the Paradise Lost imaginary. However, the very text-specific approach of Bit Golem misses the intertexuality of the short story, thus losing its evocative power: it is a shame, since the entire aesthetic universe of Miltonian Chaos is of rare richness. For this reason, the choice of italicising or bolding certain words in the story – often related to madness, strangeness or more generally terms with a negative connotation – must be considered odd, as if aimed at artificially underlining the horror of the tale. Instead, the studio emphasises the impossibility of transcribing it through visuals and casts doubt on the relevance of a game adaptation.
Dagon is nevertheless a free experience and it would be wrong to ask too much of it. The technical production is passable and suffices to set the mood; likewise, the atmospheric soundtrack is unremarkable, but achieves its purpose. Given the contextual information, one would have thought that Bit Golem would have understood Lovecraft's aesthetic project, both in its intertextuality and in the racist background, both of which represent important challenges for any adaptation: the studio chose to avoid both, ultimately resulting in a title that, if not terrible, barely says anything and fails to reintegrate Lovecraft's material into a new creation. It is regrettable, but few have managed to take up this complex task, while acknowledging a political discourse in tune with our contemporary society. Let us rather underline the effort of the creators and the fact that they have donated the earnings from the DLC to the victims of the war in Ukraine.
_________
[1] Christopher Cuccia, ‘A Bridge through Chaos: The Miltonic in ‘Dagon’ and Lovecraft’s Greater Cthulhu Mythos’, in Lovecraft Annual, no. 15, 2021, pp. 102-127.
Full of little trivia goodies providing context about Lovecraft and the stories he wrote. I can tell it was made with love and I look forward to more stories being adapted this way.
A short (30-40 minutes) free visual novel based on a story by H. P. Lovecraft.
The narration, music and overall presentation were fine.
You don't have much interactivity beyond clicking to progress the story or to get a piece of trivia regarding it.
An overall ok experience.
The narration, music and overall presentation were fine.
You don't have much interactivity beyond clicking to progress the story or to get a piece of trivia regarding it.
An overall ok experience.
Lovely fan project. Clearly there was put a lot of effort and research into this. Do not expect real gameplay though.
cool way to approach lovecraft's stories, but i still think that it's still better to let your imagination create the horrors
A melhor parte depois do Lovecraft é como a história é direta e ainda sim mantém o jogo convidativo
Great stuff! Appropriately spooky, with a tense, ominous tone. Also does not compromise on the beauty of the literature being conveyed. Really brings out the text, which is great but can also be heady and dense on its own; having the audio-visual experience takes it to the next level. And in VR, the experience is even better. The sense of scale given is truly awesome.
It's hard to recommend this without VR at least.
great eldritch horror type game with an interesting story and tense atmosphere for sure kept me guessing the whole time would recommend for anyone looking for games with storys like dredge or the like it is free but its also not that long maybe an hour still worth it if you like these types of games
Very simple little game, a great retelling of one of my favourite Lovecraft works.
ooooh man i wanted to see the fish man up close...
in all seriousness, i feel like some of the interactive novel bits could have been swapped in favor of something more akin to a walking simulator or just cut. some sections just felt dragged out, and replacing those with some type of interactivity would have helped to keep the player interested (or me personally, at least). this and the camera constraints for each scene made the environments feel underutilized.
i can't really comment on the audio, i had a weird issue with the narration sounding weirdly balanced and compressed when using headphones. i'm not completely sure what caused the funkiness, when playing with my laptop speakers instead it sounded fine. I did enjoy the narration, it's at the level of a good audio book. the music adds nice ambience, but is otherwise forgetful.
overall, it's a good introduction to lovecraft's works, but know it's more of a kinetic visual novel more than anything.
in all seriousness, i feel like some of the interactive novel bits could have been swapped in favor of something more akin to a walking simulator or just cut. some sections just felt dragged out, and replacing those with some type of interactivity would have helped to keep the player interested (or me personally, at least). this and the camera constraints for each scene made the environments feel underutilized.
i can't really comment on the audio, i had a weird issue with the narration sounding weirdly balanced and compressed when using headphones. i'm not completely sure what caused the funkiness, when playing with my laptop speakers instead it sounded fine. I did enjoy the narration, it's at the level of a good audio book. the music adds nice ambience, but is otherwise forgetful.
overall, it's a good introduction to lovecraft's works, but know it's more of a kinetic visual novel more than anything.
This one was not Mehrunes, wasn't he?
Não é um jogo pra ser jogado. É quase um vídeo interativo.
Dagon is my favorite HP Lovecraft story, but this game doesn't really do it justice. Showing the monster is definitely the biggest sin you can do. Furthermore, I played this in VR and it was very clearly not made for it. But eh, it is free.
Posso afirmar que este jogo apresenta uma narrativa instigante, curiosa e um
tanto perturbadora.
O medo do desconhecido é um sentimento curioso, semelhante a assistir a um filme
de terror, onde a cada segundo você espera ver aquilo que tanto o assusta. E
quando finalmente aparece, chega a ser um pouco cômico.
Basicamente, o principal problema e injustiça deste jogo é que, infelizmente, é
gratuito. Primeiramente, consideremos a possibilidade de falta de verba para
desenvolver um final mais digno. Do começo ao fim, encontramos toda uma
narrativa e clímax perfeitamente incorporados nos ideais dos desenvolvedores.
Literalmente a todo momento, você está em estado de alerta, esperando o pior. A
voz que narra essa história é fria e melancólica, e o estado de alerta apenas
aumenta a cada capítulo. Parece que você está sonhando, aprofundando-se cada
vez mais na narrativa.
Atingindo o ápice do jogo, chegamos à cena que quebrou toda a imersão,
descendo às profundezas. Finalmente, o terrível monstro faz sua aparição, trazendo
felicidade ao jogador, pois o monstro não é nada mais, nada menos do que um
Battletoad. Nesse momento, você se sente um tanto desapontado, pois esperava
mais, aguardava uma criatura verdadeiramente horrível, mas isso não acontece.
Como mencionei no terceiro parágrafo, prefiro partir do pressuposto de que, por ser
um jogo gratuito, não obtiveram recursos suficientes para criar um personagem mais
aterrorizante. Para ser honesto, fica aquele sentimento de que talvez não fosse
necessário mostrar o que estava causando medo; o medo do desconhecido poderia
se manter desconhecido e ainda assim manter o impacto.
Só para constar, eles erraram absurdamente ao escolher mostrar o monstro da
maneira que foi mostrado. No entanto, a cena final do jogo aprova a teoria de que
talvez teria sido mais interessante optar por não revelar o monstro. O que causa o
medo é o desconhecido, manter o desconhecido como tal não faz o medo
desaparecer, apenas o intensifica. A cena final demonstra perfeitamente isso; o
medo estava lá, mesmo sem saber diretamente o que o causava.
tanto perturbadora.
O medo do desconhecido é um sentimento curioso, semelhante a assistir a um filme
de terror, onde a cada segundo você espera ver aquilo que tanto o assusta. E
quando finalmente aparece, chega a ser um pouco cômico.
Basicamente, o principal problema e injustiça deste jogo é que, infelizmente, é
gratuito. Primeiramente, consideremos a possibilidade de falta de verba para
desenvolver um final mais digno. Do começo ao fim, encontramos toda uma
narrativa e clímax perfeitamente incorporados nos ideais dos desenvolvedores.
Literalmente a todo momento, você está em estado de alerta, esperando o pior. A
voz que narra essa história é fria e melancólica, e o estado de alerta apenas
aumenta a cada capítulo. Parece que você está sonhando, aprofundando-se cada
vez mais na narrativa.
Atingindo o ápice do jogo, chegamos à cena que quebrou toda a imersão,
descendo às profundezas. Finalmente, o terrível monstro faz sua aparição, trazendo
felicidade ao jogador, pois o monstro não é nada mais, nada menos do que um
Battletoad. Nesse momento, você se sente um tanto desapontado, pois esperava
mais, aguardava uma criatura verdadeiramente horrível, mas isso não acontece.
Como mencionei no terceiro parágrafo, prefiro partir do pressuposto de que, por ser
um jogo gratuito, não obtiveram recursos suficientes para criar um personagem mais
aterrorizante. Para ser honesto, fica aquele sentimento de que talvez não fosse
necessário mostrar o que estava causando medo; o medo do desconhecido poderia
se manter desconhecido e ainda assim manter o impacto.
Só para constar, eles erraram absurdamente ao escolher mostrar o monstro da
maneira que foi mostrado. No entanto, a cena final do jogo aprova a teoria de que
talvez teria sido mais interessante optar por não revelar o monstro. O que causa o
medo é o desconhecido, manter o desconhecido como tal não faz o medo
desaparecer, apenas o intensifica. A cena final demonstra perfeitamente isso; o
medo estava lá, mesmo sem saber diretamente o que o causava.