Mods And Ends: The Worry of Newport

By Adam Smith on September 2nd, 2011 at 12:16 pm.

But more wonderful than the lore of old men and the lore of books is the secret lore of ocean.
I use the word potential all the time. To the extent that it becomes annoying to the people around me. But it is an important word, especially in this still youthful industry. It’s locked in the bizarre ideas forming in the mind and on the hard drive of the smallest indie developer, and it’s evident in the expanding technical prowess of the largest blockbusters. It’s not just in the future though. I also love the potential of what already exists, the engines that have been built and the histories they have produced. And that’s why I love mods. They can make the old new in so many ways: balancing, tweaking, expanding, subverting, or being something self-contained and entirely new. Take The Worry of Newport. It’s a self-contained, Lovecraftian mystery that’s pretending to be a mod for Crysis.

Although it’s small and imperfectly formed, The Worry of Newport is as authentic a Lovecraft experience as I’ve ever played. That’s not to say it’s the best Lovecraft-inspired game I’ve ever had my hands on, it’s just the most true to the man himself. I am a huge fan of the mythos and I’ve read a thousand books inspired by it, most of them crappy. A few years ago, I bought anything that said Cthulhu on the front. Or shadows. I was the reason the horror section in my local Waterstones was essentially a Lovecraft tribute act. The fact that the horror section is now made up entirely of stories about teenage girls fighting and/or falling in love with vampires is absolutely definitely not my fault. Oh, and those mashups are there too I guess. Things like Pride and Prejudice and Zombies. Personally, I’m waiting for the Dickensian wave to really take off: Bleak House of the Dead and Great Exhumations are going to be money in the bank.

Despite my love of his craft though, brace yourselves, because I’m about to say some things about HP that are less than complimentary. His writing is often ponderous, overly portentous and sometimes just plain silly. All that stuff with cats and dreamworlds? I prefer the cosmic horror and madness, thanks very much. The point is, if you read a lot of Lovecraft, there is a swift realisation that people have an idea of what is Lovecraftian that has developed outside his works, supported by the best of them. And so I say again; The Worry of Newport is as authentic a Lovecraft experience as I’ve ever played. Which is to say, it’s slow, wordy and takes itself very seriously indeed. However, it’s also atmospheric, creepy and mysterious.

...there lies upon this world of man a mocking and incredible shadow out of time...

The mod is an unusual fit for CryEngine 2, with its literary base and deliberately slow pace, although I don’t think it would work quite as well anywhere else. It would be easy to dismiss the whole thing as a largely uninteractive, on-rails storybook. I have two problems with that. The first is that such a thing is worth dismissing if the story is good, the second is that interaction only means picking things up and using them. In such an exquisitely designed 3D space, simply by existing as an agent we interact. By exploring, choosing the pace at which we move and observing from chosen positions, we create unique experiences. Though the story may be linear, the sense of place is strong enough that acting within it becomes integral.

It begins on a dock, the wood rotting as it is lashed by rain. The beam of a lighthouse cuts through the tempest, illuminating derelict buildings and collapsed piers. Behind, the sea yawns, immense and filled with unimaginable horrors that it is imperative you immediately attempt to imagine. Frightening, aren’t they? And cyclopean. Possibly eldritch. I don’t know for sure. You see, they’re indescribable as well as unimaginable.

As you make your way to Newport and its one big Worry, you will hear a voice. A narrator! Infuriatingly, when he speaks you’ll sometimes be frozen in place, presumably to ensure another audio segment or setpiece isn’t triggered while the previous one is still playing. It may be necessary but it’s annoying and it made me think about the mechanics of the mod rather than its atmospherics. Part of the problem is that the narration is rather slow and verbose. The voice acting isn’t terrible, though I wouldn’t defend its honour too fiercely. If it grates at first, perhaps, like me, you’ll find it grows on you as the story goes on. Maybe that’s also because your character doesn’t become locked in place quite so much later on, allowing you to roam while you listen. There’s a certain cleverness to the way the narration works, oftentimes telling you what’s about to happen so that you can be pre-emptively distressed, or to guide you when your goal isn’t clear. It’s not Bastion, but it does make it seem like you’re doing more than tripping invisible wires to active audio files.

As for the words that are actually being spoken, they are fine words. Again, I think the writing as a whole improves by the second part. There’s plenty of it too, whether acted or not. Books, mostly in the form of journals and diaries, are scattered along your path. I felt they were too explicit about the mystery – sorry, the Worry – early on but there is a fair degree of subtlety later. As well as some more personal stories.

the pyramid may contain non-euclidean elements

So what you get for your investment of time is a decent horror-mystery, heavily indebted to Lovecraft, and some beautiful environments to explore. And do explore them. Take your time. Instead of rushing onto the next chunk of plot, let the rain soak into your bones as you stare out at that unforgiving sea. Shelter from the cold and the horrors in the woods when there’s a chance for a moment of respite. Just don’t wander off the path too far or you will run into invisible walls and that is very annoying. It would hardly be realistic to surround every area with impassable mountains or chasms, but it is jarring to feel hemmed in however it is done. It’s necessary, of course, but sometimes clumsily implemented.

It’s important to state, although it’s obvious once you start playing anyway, that CryEngine 2 still looks astonishingly good and the mod makes excellent use of it, despite some technical hitches. As I rushed down the beach near the beginning of the story, I suddenly realised how spoiled I had become. A few years ago, it would have been impossible to travel through such a fantastically detailed and well-realised replica of the blighted coastlines I’ve read so much about. That’s why I slowed myself down and appreciated what was there. I strongly urge you to do the same. Hell, I did the same in Crysis all the time. It was more a tourist trap than an FPS the way I played it.

Another thing of note, as you can see from the screenshots littered around, the story doesn’t take place exclusively in dank old Lovecraft Country. There’s plenty of Innsmouthesque drabness but you won’t always be by the sea and, in a strange twist, it won’t always be raining and dark. You’ll want to know how difficult stealth and combat will be in the brightness of day and you’ll be pleased to know there isn’t any combat at all, difficult or otherwise. The unimaginable, indescribable creatures after your hide cannot be harmed by mere bullets. In fact, it’s not even clear that anything is after your hide at all. Maybe your hide is undesirable. Maybe that’s the worry.

We live on a placid island of ignorance in the midst of black seas of infinity, and it was not meant that we should voyage far. Lovecraft says, stay away from school, kids.

It’s probably a good idea to mention that the mod didn’t terrify me. It didn’t scare me a huge amount at all but that doesn’t mean it did nothing. I enjoyed it more as a mystery than a tale of terror. Digging up the past and piecing things together, like a proper investigator. I think the pace is probably too sedate to set the heart racing but the contemplative mood does conceal plenty of unnerving details and the occasional shock. It’s also very different to Dear Esther. I say that because many people were, and maybe still are, expecting something similar. Play this on its own merits.

There are, as is often the case with Crysis mods, some niggles and the internets tell me that people have experienced difficulties getting it to work properly. There’s nothing too complex to overcome though and the installation instructions here for part one and here for part two did everything I needed. There is no save function, which again is typical of such things, but the story is handily split into two parts so you can do one, take a break, then come back to the other later. The first isn’t much over an hour, the second is longer but certainly not more than three hours, even if you crawl through it.

The team behind the mod have already started work on a new one and that will be using the Amnesia engine. Even though it’s probably a better fit for what they’re trying to do, I’d like to see CryEngine’s large, open spaces being used more for tight, mystery storytelling. It might not be the smoothest fit but it’s interesting and it’s a far remove from Amnesia’s own take on cosmic horror. Hopefully, using the same engine won’t mean using all the same tricks.

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74 Comments »

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  1. Nameless1 says:

    Beautiful.

  2. Wunce says:

    I played the first part a while back and I quite enjoyed the strange events. Like the house that disappears and the chair that rotates to face you, as if inviting you to sit down.

  3. Ralud says:

    Arrh, I only have Crysis Warhead.

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      Joshua says:

      I am quite sure that Crysis Warhead allows mods as well, and do not see why this mod would not work on Warhead (after all, it’s a slightly updated version of Crysis). I suggest that you experiment and try it

      Or ask the devs for a warhead compatability patch.

    • C-zom says:

      Sorry guys, can’t say it works on Warhead. You see, porting it over would require a change in file structure. Doing that requires the Crysis Wars Sandbox, and that thing is, erm, glitchy–to say the least. It crashed on us when we tried, and when we got it to finally load all the textures were gone and so forth.

      Afraid you need Crysis 1 patched to 1.21 to play Worry.

    • pepper says:

      That’s a shame to hear G-zom.

      For me Crysis 1 crashes each 20 minutes(the demo didnt), warhead does not have this problem oddly enough.

      I suppose I better give it a shot. Sounds like a interesting experience.

  4. Kaira- says:

    Well, I’ve owned Crysis for two years now, without a single installation(!). Might as well install it this evening and play this mod. And maybe even the game itself.

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      Cinek says:

      Try the Mechwarrior:Living Legends than. :)

    • Prime says:

      Hehe, funny you should say that. I installed Dungeon Siege yesterday looking to play one of the Ultima mods then realised I’d never actually played Dungeon Siege. To my surprise I’m having a great time with it! Ultima mod can wait!

    • Kaira- says:

      Ah yes, that Mechwarrior mod seems rather good. Wasn’t there some sort of Back to the Future-mod also, or was it just DeLorean?

    • DrGonzo says:

      I would actually just play Crysis first. It’s really very good, and in my opinion still better than any fps that has come since.

    • DrazharLn says:

      Similarly only installing Crysis for the first time to play this.

  5. McDan says:

    Now this is the king of thing I’d like to see more often, like Dear Esther and it’s ilk.

  6. Heliocentric says:

    I’m going to bunny hop right the way through to the deep one swallowing me up :D

  7. Rii says:

    I like this Adam Smith fellow and his writings. He can stay.

    And as I’m just now getting into Lovecraft myself I find this mod perhaps even more intriguing than I would otherwise. Perhaps I shall have to purchase this so-called “Crysis” game after all.

  8. wiper says:

    Having lived most of my life in Newport, South Wales, I can safely say that the real deal is an awful lot more frightening than this version ;)

    • Rath says:

      I was about to comment that Newport is enough of a horror show already without Lovecrafting it up, but you beat me to it.

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      AndrewC says:

      I went on holiday in the Brecon Beacons and had to change over trains in Newport. On the way back, a complete stranger felt the need to say ‘Newport? Great city? Pffh! Yeah right!’ to me. it obviously inspires passions. I have spent a grand total of 20 minutes in Newport’s train station and I can say that the ticket office/bridge to other platforms is pleasantly futuristic and the bread in the sandwich shop was fresh and crunchy.

      Also I was the only one who could read the map on the holiday, and this was only through PLAYING GAMES. It’s true.

    • metalangel says:

      Newport is tidy, and safe as fuck, butt.

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      matte_k says:

      I’ve just moved to Newport, Shropshire, and it’s decidedly un-frightening, unless white-picket-fence-and-cricket-england terrifies you.

      You want real horror – try living in Walsall, it’s like being in Innsmouth ;)

    • BeamSplashX says:

      Try living in Hell.

      It’s awful here.

  9. Ergates_Antius says:

    I don’t know why, but as soon as I saw the word “Newport” I thought of Lovecraft. It just sounds like the type of place to host a Lovecraftian mystery. (or I’m experienceing cryptoamnesia).

    • Prime says:

      Not if the first word after it is ‘Pagnell’. That’s a different kind of horror.

    • Dave Mongoose says:

      Lovecraft uses a town called ‘Kingsport’ in a few of his stories, like ‘The Terrible Old Man’ and ‘The Strange High House in the Mists’.

      That and the Lovecraft-esque title ‘The [something] at/in/over [somewhere]’ probably rung a bell in your brain :).

      ‘Worry’ is a bit weak for a Lovecraft title – ‘The Horror/Terror/Fear of Newport’ would sound more like a Lovecraftian tale… ‘worry’ is more appropriate for losing your keys than eldritch horrors.

  10. torchedEARTH says:

    I would like a mash-up where a teenage girl falls in love with Cthulhu.

    March 15th. Dear diary, went swimming again today. R’lyeh is so dreamy. sigh

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      Matchstick says:

      You’re not played Cthulhu Saves the World ?

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      Aninhumer says:

      Never fear, Japan provides: http://anidb.net/a7316
      (Actually it’s about Nyarlathotep, but near enough)

      And if you must have tentacle monsters… well you can probably find some…

    • inawarminister says:

      @aninhumer: Wot.

      Hmmm…
      I can only find it until eps. 1-9
      I CAN’T SLEEP UNTIL I WATCH THE WHOLE THING, DAMMIT! :<

  11. Corrupt_Tiki says:

    So lovecraft tales are that good eh?

    I should pick this up, as I constantly Roleplay-get far too heavily involved in games, even on rails shooters like CoD, I think I would enjoy it immensly.

  12. Sunjammer says:

    Call of Cthulhu, Dark corners of the earth.

    That game is and probably always will be the best Lovecraftian experience ever committed to a video game.

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      Anthile says:

      Shadow of the Comet and Prisoner of Ice beg to differ.

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      Eric says:

      And he linked to all of those in the article itself, so it’s a fair bet he knows about ‘em.

    • Donjo says:

      No need to fret, they’re all lovely games. Great memories of buying Prisoner of Ice with my brother, we had no idea what it was about but it were totally enthralled. Can still hear the music and a lot of the voice acting in my bonce… “The Aymaraz lived in peace in Tiahuanaco.. until the day the fair haired man appeared…”

  13. TheGroovyMule says:

    I came across this quite some time ago, but didn’t think it was worth the download. Thank you good sirs! Will give it a go as soon as I clear enough space to reinstall Crysis.

    Also, am I the only one that despised (most of) Call of Cthulhu?

    • Kaira- says:

      Well, it did take quite a plunge after you acquired weapons. And the PC-version was very buggy. But the beginning is just phenomenal.

  14. BobbleHat says:

    I can’t seem to find any installation instructions anywhere.

  15. Wooly says:

    *Builds Adam Smith’s trading company*

  16. magnus says:

    Cats and Dreamworlds? Only if you’ve read ‘The Dreamquest Of Unknown Kadath’ which just about sums my feelings about that statement. I’d add a face-palm but I can’t send one as an attachment. (Razz X infinity)

    • wererogue says:

      I actually *liked* TDQOUK [ahem]!

      It has the Randolph Carter, some closure on Pickman, and is almost HP’s own fanfic, as well as a clear tribute to Lord Dunsany, Lovecraft’s other inspiration (besides Poe) and predecessor in the creation of what Lovecraft would later term a mythos. Dunsany’s work was mostly whimsical fantasy, was quite groundbreaking despite being as edgy as a ball, and is well worth a read if you have some time to be charmed.

    • Dave Mongoose says:

      The only Dreamlands stories I really enjoyed were ‘The Quest of Iranon’ and ‘The Doom that Came to Sarnath’, mostly because they both end in suitably mysterious and depressing ways like most of the Mythos stories.

      Dream Quest just goes on to long and has too many fantastical elements… It gets quite sinister at one point when the ship carrying the protagonist sails off the edge of the world and he’s taken to some dark ritual, but then cats fly through space to rescue him and it goes silly again.

  17. Janus says:

    “The first is that such a thing is worth dismissing if the story is good, the second is that interaction only means picking things up and using them. In such an exquisitely designed 3D space, simply by existing as an agent we interact. By exploring, choosing the pace at which we move and observing from chosen positions, we create unique experiences.”

    This is pretty much the essence of everything that is wrong with the modern games industry. I mean, I can honestly imagine some subhuman at Treyarch trotting out something like this to defend the fact that their games are little more than (execrable) movies interspersed with shooting galleries. Interactivity, agency, and ludonarrative are worth dismissing “if the story is good”? Seriously? I remember people being intensely cynical about FMV games when they were all the rage; I have a feeling if they came back in fashion you’d be slathering all over them.

    Who cares about the story if the gameplay’s non-existent? If it’s really something, I’m sure YouTube has a video walkthrough lying around.

    • devlocke says:

      @Janus: “Yeah, well, you know, that’s just, like, your opinion, man.”

      I happen to agree that a good story can totally make up for gameplay that is inherently uninteresting. I’d even go further and say that all gameplay is inherently uninteresting, without some kind of hook. Whether it’s achieving higher scores or furthering a plot, there is nothing particularly neat about mashing buttons; it’s only when you’re mashing buttons in some sort of context that a game becomes interesting.

      But maybe that’s too extreme? I don’t mind reading a poorly written book if the plot is awesome. And I don’t mind reading a book that doesn’t really go anywhere, if it’s written cleverly enough to still be amusing. Can’t we just agree that both mechanics and narrative have their place, and sometimes being great at one part of that equation can balance being less than stellar at the other part?

    • Burky says:

      Games aren’t comparable to books, let’s get that one clear. Closest comparative in older mediums would be interactive theater, but that’s a very basic level of interaction.

      Secondly, I have no idea how you would justify calling something with poor or non-existent gameplay – ie all the interactive considerations that are the reason why you’re holding a mouse or controller – a good game. It may be interesting as some kind of 3D diorama, but it still isn’t playing to the medium strengths and is thus inherently a lesser effort.

    • devlocke says:

      @Burky: Err… books are comparable to games. You can compare pretty much anything to pretty much anything. If you’re trying to say that comparing entertainment that is traditionally considered non-interactive with entertainment that is generally defined by its interactivity is inevitably meaningless, I disagree. I thought my comparison made the point I was shooting for.

      Re: your second point, I would justify calling a game good if it brought me joy. Full stop. That’s all I ask from anything I do for fun: That it provide me with fun. If a game is only good because it totally captured a vibe and locked me into a story… it’s still good. To me, if not you. Is that not okay?

    • JackShandy says:

      Hey guys, if you want this discussion to be at all interesting or useful, you should each give your definition of the words “Gameplay” and “Story”. They’re both such meaningless catch-all words.

    • Burky says:

      Story: the prescribed narrative that operates mostly independently from the player’s actions. Contrast ludonarrative.

      Gameplay: the player’s interaction with the game. Can be measured both quantitatively and qualitatively.

      these aren’t particularly subjective notions

    • Josh W says:

      Virtual spaces can be good, artistically interesting and a great use for frustrated architects, but if you water-down interactive to be a tickbox for being able to move the camera then we’ll need a new word.

      Interactive expression has a big difference from any standard interpretive artform, which is pretty important: Interpretive artforms like books don’t care what you think of them, there’s no conversation, so you can think what you want, you can read whatever you like into the text. With something interactive, the game then responds to your interpretation. If you think someone else was “really” the murderer, and you can act on that idea, then you can find out whether you were right. The ability of a game to continue a conversation with you both expresses the game idea more fully, it also mixes it with your own self expression. The more domains of interpretation that a game can carry on a conversation with you in, the more interactive it is.

      So this game gives you camera control, you can explore, you can wonder what’s over there and find out, but it dosn’t let you react within the game, to it’s main themes. It’s not very interactive.

    • Rii says:

      See, and I was just going to call you a jerk.

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      Hidden_7 says:

      The thing is, environment as narrative, a “traditional” linear story told by pieced together elements arrived at by exploring an environment, is largely the purview of games. That is, “games” as the things produced by the games industry and talked about on this blog and others like it. They don’t NEED to do that, but no other medium can do it nearly as well, save perhaps rides such as you’d find in Disneyland or etc., but those are extremely limited in scope. So we’ve got this medium, call it what you will, but the word used by most people is games, that can do something extremely well. It doesn’t need to do it, that would be needlessly prescriptive to say “all games must do this,” but it’s equally overly prescriptive to say that games musn’t be this.

      I agree that the interactivity, the mechanics of games is a thing unique to games, so must be highlighted, but it’s not the ONLY thing unique to games. Exploration of worlds, either with the world as storyteller, or unfocused such as with Minecraft, is also a strength of games, again “games” used in the way that most people use it. The ideal game would include both, in my opinion, but one without the other doesn’t make something not a game. Chess isn’t less a game because there’s no world to explore, and neither is this less a game because of its weak mechanics / interactivity.

      You can, if you wish, and I have no doubt will, say that only the games that heavily interactive / mechanic driven are actually “games,” and that the other things might be fine for what they are but they are something else, think of a different word for them. The problem with this approach is that 1) you’d be fighting against a horde of language use that mashes the two things together calling them both “games,” a battle you are unlikely to win, and that 2) when most people talk about games, cover games, such as this blog, they very intentionally mean to include both things. If you managed to get the world-exploration “genre” reclassified as “world explorers” or something similar, then this site and sites like it would just become about “games and world explorer journalism.” So you still wouldn’t get your wish that the writers defend only the things you find valuable.

      You also place a great deal of importance on “ludonarrative” which is, if I understand it correctly (I could be far wrong on this) the narrative the player tells themselves, chronicling “what happened.” “I did this, and then I did this, and then this happened,” essentially. While I’d agree that’s a valuable outcome of games, I, personally, only find it valuable insofar as it exists within a context i.e. the narrative context as dictated by the developer. “What happened” to me is only interesting if it’s happening in an interesting world and happening to a person with an interesting context in that world. I can tell myself a “ludonarrative” of any day of my life, but they are all exceedingly boring. The reason why the ones of my playthroughs of Deus Ex or Fallout are worth telling is because they are happening in an interesting world (world building absolutely part of narrative), to an interesting character (a collaboration between myself and the designers). Likewise, I can tell the narrative of a game of Chess or Space Invaders, but I find each equally as dull as the one of my day to day. I’m aware this probably makes me a bit of a philistine, as some people are probably enraptured by the story of a well played game of Chess, but personally, without an interesting context surrounding the game, I’m just not interested. I am interested in the account of the game of Azad at the end of “The Player of Games,” or the game between Kasparov and Deep Blue, or RPS’s Solus Infernium diaries, but that’s because of the context surrounding said games.

      In short (tl;dr for that crowd), the story of “what happened” (ludonarrative) is only interesting/valuable if what happened was interesting, even if it happened to me. In my opinion.

    • JackShandy says:

      “Narrative is not inherently a bad thing, but it’s only useful and meaningful in games when it can be presented in discrete interactive “chunks” over which the player has some significant level of control, whether by swapping, changing, or somehow affecting the otherwise linear dictated sequence of events.”

      You’re taking that from Deus Ex, right? I’d argue narrative is good when it lends interesting context to the gameplay, and player control has nothing to do with it. I’m thinking of board games here, where the story obviously isn’t presented in discrete, player-manipulated chunks. A good board game story is one that gives compelling reasons as to why you’re drawing cards or placing tokens, and I’d say a good video-game narrative is the same. Honestly, I think an ideal game would have no discrete storytelling chunks at all, just a setting and context. Dwarf Fortress, for instance.

      I asked for a definition of Story because I see it used a lot to mean “The linear sequence of events that comprises a plot”, which is the worst kind of story in games.

    • Burky says:

      “Honestly, I think an ideal game would have no discrete storytelling chunks at all, just a setting and context. Dwarf Fortress, for instance.”
      Yeah, what I’m reading from his comments is that narrative isn’t necessary at all (see Dwarf Fortress and Minecraft), but if you must put one in there, then a non-intrusive chunks system would be ideal.

      I remember when STALKER came out, and a lot of reviews complained that, whilst the world was detailed and convincing, that the story was “fleshed out” enough. But that’s part of the genius of it. GSC found themselves forced into chucking a narrative in there for the sake of accessibility, but they limited it to only a handful of plot-points in order to let the player explore largely on they’re own merits.

    • Burky says:

      “I asked for a definition of Story because I see it used a lot to mean “The linear sequence of events that comprises a plot”, which is the worst kind of story in games.”

      Part of the problem of using static media language to describe interactive media. Which is why I tend to differentiate with a narrative/ludonarrative dichotomy.

      Though there are no true non-linear narratives in games, just multi-linear; whether through a series of open world missions or parallel pathways. They’re generally quite a side-step anyway, as Spector realised with DX1, because the real deal is with giving the player the freedom for as much ludonarrative potential as possible. Fahrenheit may have pathways coming out of its ears, but who cares when most the gameplay boils down to menu options and quick time events.

  18. RichardFairbrass says:

    If you are looking for a mashup that is actually pretty good, I can recommend Shadows over Baker Street (even better if you are a Sherlock Holmes fan as well).

    http://photo.goodreads.com/books/1171905568l/125755.jpg

    The first story is by Neil Gaiman and is especially good. However I remember there being one story that is so bad that it should be skipped all together, or read only for comedy value. It basically involves some ultra sexy, mysteriously foreign thief/assassin femme fatale sneaking into Holmes’ room and smugly explaining quite how clever and mysterious she is for the entire story. Meanwhile Holmes sits there drooling over her like a simpleton and even pops a boner at the end. As far as I could tell the author had never read Lovecraft or Conan Doyle and was masturbating furiously while writing it.

    On a related note, I thought Sherlock Holmes – The Awakened was also a good Lovecraft game. The ‘H.P.’ cameo tickled me as well, those who have played it will know what I mean.

  19. Wedge says:

    I’ve had an eye on this for a while, but never could be bothered to play it, simply because I’d have to download all those hefty Crysis files again… something on the more compact Amnesia setup would be fantastic though.

  20. mktlin says:

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  21. wererogue says:

    I would be all over this if I had Crysis. I might have to buy Crysis.

  22. Shortwave says:

    This looks amazing, thanks for the know how!

  23. Rozza says:

    How small is the smallest developer?

  24. C-zom says:

    As a lead behind Worry of Newport, I can’t really express precisely as to how much this review means to us, and Jason, my co-dev.

    By “small,” as some of you have been asking in the comments, I’d like to answer. Two guys made this, only one (myself) wrote it, then we had other people join in and do music and VA for Narrator, Aoife, etc.

    But Adam this review is exquisite. Your appraisals were spot on to what I was “going for” with the story, and your criticisms are fully correct about the invisible walls, the lack of anything to do, and even the smaller critiques about Cryengine2. We’ve switched to HPL2 for now. I fully agree Part 1’s writing style is, dare I say, just a draft of Part 2’s.

    But I want to say as an article writer and review myself, but for much smaller sites, you have nailed the type of reviewing I want to see elsewhere. You looked at both, or even all three sides, to anything. You went over your personal opinions quickly with a fine brush. You didn’t even bother with crap like a score. You told an honest review, a recount and explanation of something you played, and expressed your thoughts.

    I don’t think I could have asked for a more honest review than this. Thanks again so much. Cheers!

    C-zom

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    felisc says:

    mmmh while you are on the subject of Dear Esther… sooo, I never played it, I very much want to, if I understand correctly the dev took the official link down because he’s rebuilding the whole mod even nicer ? … ? Would you advise me to get it now from another source or am I supposed to wait some enhanced double yummy version ?

  26. raddevon says:

    I’m having some trouble getting part 2 to load on the Desura install. Anyone else having similar problems? I’m sure I could just do the manual install, but I like the convenience of Desura for mod installs.

    • C-zom says:

      We don’t have a Desura release for Part 2 yet bud, that comes out in septemberish when the Enhanced Edition is released. The manual install is easy for Part 2 though.

  27. JackShandy says:

    —X2 reply fail combo—-

  28. JackShandy says:

    ——Reply Fail—–

  29. Kaira- says:

    I played through both parts last night (part 2 twice, technically, since I had to abandon my first playthrough somewhere near the end). Atmosphere was nice, and story was lovecraftian indeed, but it left much to be desired.

    – Movement speed was far too slow, my finger cramped trying to hold sprint-key down to move a little bit faster
    – The narrator’s voice became very annoying on the second playthrough from time to time, so not always bad.
    – In the first part it was very annoying when you had to stop to listen for the narrator
    – In the second part that was fixed, but I absolutely loathed the parts with the French accent female voice actor. I couldn’t stand it, and as it happens, I turned sound off every time I picked up a book/note from her

    Music was nice in the second part, though.

    • C-zom says:

      Your complaints have reached our ears loud and clear my friend!

      -Movement speed is supposed to be slow because the diameter and length of most of the “chunks” of levels in Part 1 and Part 2 are small, and the mood is fully contemplative. Fast walk speed in Crysis is annoying, and ruins immersive experiences (See: Call of the Fireflies, where you’re supposedly an old man but you can sprint.)

      -Regardless, it can be adjusted in a few scenes, namely South America, Iran, and the Colony. It’ll be sped up in all those three as a sort of meet-in-the-middle compromise.

      -Sorry about the VA complaints, not much to address there. I’ve seen most people liking Aoife’s voice more than the narrator’s, sometimes vice versa, but everyone’s opinion differs. Sorry you hated her voice. :X

      -And finally as for stopping, its only in part 1 because of its length, Adam even noticed it in the review. If you didn’t get to stop and “ease” into the mood by listening, you would simply miss tons of details and tons of books and sound ques, etc. We removed it in Part 2, besides for a scene or two, because there was no need.

      Hopefully my answers have eased your mind a bit. I fully endorse any opinion either way since TWON is such a different experience for whomever plays it.

    • Kaira- says:

      Maybe I should’ve been a bit more specific in what I said – in part 1 I wished movement speed was a tad faster, but in part 2 it was just fine, because there was much more to see and explore/experience compared to part 1. VAs are of course a subjective experience. :P

      Still looking forwards to what you guys will come up with Amnesia’s engine.

  30. NegativeNancy says:

    Huh. It’s fortunate that this mod was reviewed a short while after I made this thread.