Graphics & Audio:
Graphics
The monochrome approach coupled with film grain filter, focusing techniques and lighting, visualize dreamlike tableaus of silent films, allowing the visual elements of the game to carry much of the story’s weight.
It’s like watching the game through an old-fashioned film projector that creates “one of the most unsettling and eerily beautiful environments” in video gaming.
The dreamlike levels twist and spin in unexpected angles” project an art style minimalistic, and reminiscent of the art of classics like Tim Burton.
The game tries to misdirect us in the visuals, by using silhouettes to avoid revealing the true nature of the characters or shadows, or by showing human figures across a chasm that disappear once the player crossed the chasm.
The environment physics and interactions like walking in the mud or grass or sliding down a slope are very well executed.
What is more fascinating or I would say horrific is the way deaths are simulated. Falling on a spinning blade or being electrocuted by a charged floor or being decapitated by a Spiders look so gruesome that you could puke while watching those entrails fling out of the mutilated body.
The visuals surely complement the game’s Story and gameplay. And I will surely give an 11/10 if I could.
Audio :
The game’s audio was created by Martin Stig Andersen, a graduate from the Royal Academy of Music in Aarhus. The core sound focuses on depicting the environmental interactions like rustling of the grass while you walk or slide through it or the electricity sparks while you are near a broken neon sign or the machinery movement. The boy doesn’t even squeal while being killed but the sound of decapitating him feels almost real. In some level you need to analyze the sound to time the switching of the knobs or levers.
I wish it had some good more music to complement a puzzle solving along with the nerve tingling sounds.
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