12/8/2022 0 Comments Dreadout monstersIt’s probably why survival-horror games are so short-our ability to endure such psychological torture is only so strong. Now, bullshit is not a foreign concept to the survival-horror genre, which is all too glad to disable the player with unwieldy controls, obscure puzzle solutions (the light bulbs in a can from Silent Hill 2 is my personal favorite), and limited ammunition against hordes of monsters. Fatal Frame often stuck you in restrictive environments with clunky controls, disadvantages that don’t apply to its ghosts, who can disappear and reappear at will. You fended off specters with a snap of a camera-only fighting them was total bullshit. The Fatal Frame games, too, drew from the established well of horror tropes, in particular millennial Japanese horror cinema. (Thank you Outlast, Daylight, Silent Hill: Shattered Memories, and Hollywood.) Night falls, you get separated from your group, and all you have to defend yourself is a smartphone with a built-in camera and flashlight. You play as Linda, who’s traveling with her fellow students to a school that, surprise, is squat in the middle of a ghost town across a condemned bridge. I’m aware that this Indonesian game is an obvious callback to the old-school days of survival horror-to Fatal Frame in particular. This isn’t the compassionate voice of Nintendo calling to me from the abyss. (Did that already.) I’m having a hard time taking its concern seriously. Less than a minute ago, after rebooting DreadOut, it kindly mentioned that I’ve been playing for a while and that maybe I should take a break. “You might want to consider switching to casual gaming,” the game tells me. I’m on my third, fourth, fifth time fighting the overprotective “mom” ghost who snips her scissors in my face, and I’m holding down the sprint key, literally counting the seconds it’s taking me to escape from limbo.
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