![]() The game’s score, composed by Simon Poole, adds further creepiness to the tense parts, swelling suddenly as Edward makes another portentous discovery or using ominous percussion strikes to mark that something disturbing may be just around the corner.Īlas, your companion Lissie does her best to destroy this atmosphere with her chirpy and sarcastic nature. The sound effects in particular build a very troubling atmosphere – all creaking floorboards, banging doors, and ringing bells with nobody ringing them – which, alongside some quite disturbing plot points really help keep you on edge as you venture deeper into the secretive village and its surrounding environs. Edward spots things out of the corner of his eye that suddenly disappear, and there’s an ever-pervading sense that you’re not the only ones left here. So far so foreboding, and Draugen does an excellent job of ratcheting up the spookiness as you go about your journey. ![]() That, coupled with their boat suddenly disappearing from the dock, means there’s nothing for it but to investigate the unsettling town and uncover what happened to its inhabitants, and possibly Elizabeth along with them. Rather than a big Norwegian welcome (Velkommen?) though, the pair disembark to find the village completely and rather eerily empty. From the last letter he received from his dear sis, Edward believes that Elizabeth is somewhere to be found in the quiet, rural Norwegian village of Graavik, and is driven to travel there from Massachusetts, meet the mysterious Fretland family who live there, and find out why he hasn’t heard from his sibling since. ![]() The plot joins Americans (no doubt of high class backgrounds hence their propensity for Britishisms) Edward Harden and his younger, annoying companion Lissie on their quest to find Edward’s sister Elizabeth (or Betty, as she is also confusingly called). But despite a surprising mid-game plot reveal and some genuinely creepy atmosphere, the upper class British slang is just too grating and the story eventually too overwhelming for even this old bean to fully delight in. And VR does need more killer experiences.Golly, there’s some frightfully spiffing twists and turns in Draugen when it isn’t going overboard with the old-fashioned dialogue, what what! The first-person “fjord noir” (an unusual sub-genre which I can only hope encourages future anomalies like “car park-erotic drama”) from the studio behind Dreamfall Chapters is set in picturesque 1920s Norway and draws you into an intriguingly busy narrative filled with cursed mines, Nordic mythology, family feuds and potential child murder. As a matter of fact, I haven't gotten into it too far yet because of holding out for a VR version. I agree, Draugen would be a great fit for VR. It might be a small audience in itself but if your game is known as 'a killer VR experience' and gets a reputation then it could sell well for years as the VR audience grows. A game that might have a niche audience in 2D might sell very well in VR, simply because of a lack of other options. Originally posted by solamon77:Most people who have VR sets still enjoy regular games too.įor devs, it might be a bit more work to put in VR but if your game becomes known as a great VR experience then you don't have a lot of competition. ![]() It's worth holding out for those if there is the possibility of a VR version.įor devs, it might be a bit more work to put in VR but if your game becomes known as a great VR experience then you don't have a lot of competition. There is a lack of quality, narrative experiences like this that would translate very well to VR. However for games like Draugen, VR is a really good fit. Sure and I would never expect VR support for something like Monster Hunter. ![]() This looks like it would be amazing in VR! Most people who have VR sets still enjoy regular games too. Originally posted by Natteravn:Any plans for VR support? I really want to play this game, but I just can't go back to playing first person games on a flat screen anymore, nor can most people who have VR sets. ![]()
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