Wot I Think: Amnesia – The Dark Descent

Even the title screen's too dark for a good screenshot.

Frictional’s first full-length game, and a successor to their Penumbra series, comes out tomorrow. Amnesia is a combination of classic haunted castle horror with their unique first-person adventuring. Is it good? Is it scary? (Let me give you a clue: flipping yes, and oh good grief yes.) Read on to find out just exactly Wot it is that I Think.

Paint the man, cut the lines. Paint the man, cut the lines. Paint the man, cut the lines. Paint the man, cut the lines. Paint the man, cut the lines. Paint the man, cut the lines. Paint the man, cut the lines. Paint the man, cut the lines.

Help me.

Good flipping grief on a barge, Amnesia is a scary game. There is no question, not one, that it has instantly equalled with the original Thief in terms of making me feel like I’m constantly on the verge of a hideous heart attack. If it failed at everything else – and it absolutely does not – then it would still be an extraordinary achievement simply for so ceaselessly inducing ghastly fear.

However, Amnesia achieves on so many levels, from phenomenal architecture to astonishing visual design, from exquisite use of darkness to a game-changing use of physics. It has shortcomings too, and I’ll get to them, but this is an overall tale of impressive success.

But most of all, it’s the fear.

You’re walking down a barely lit corridor, bleak with shadows. You light a single candle on the wall, more to mark that you’ve been this way than to provide any respite. But suddenly everything starts shaking, a roaring crash deafens you, and in front of your is a rockfall blocking your path. So you turn around to make your- WHAT THE HELL IS THAT?

Stood in front of your is the horror of a mutant, its face in a ghastly, deadly yawn, arms twitching, staggering toward you. It hasn’t seen you yet, but the music has, and it’s become discordant, threatening. Daniel’s breathing picks up, his vision stretches out thin, before swimming slowly back to normal. But you’re lit by that candle, and it’s going to-

It’s seen you, and the screech begins. It’s not a scream, not a roar, something between, one tone, horrendous. It speeds up, charges, and you can only run. Darting past, it clips you with a talon-finger, a slice of blood ripping across the screen. Daniel staggers, his sight goes red, but you keep your finger on sprint and you just run, in darkness, no idea where you’re going. Finally there’s a door. You race in, and slam it shut behind you, and run into the darkest corner, crouch, and face the wall.

It’s growling moan still grows louder, and then you hear it slam against the door. Its fists batter at the wood, and you turn around to see splinters flying off, then a hole punched through. Face the wall. Just face the wall.

Whether it comes in to find you, or loses you in the darkness, is up to the moment. But you can’t turn around to find out what it’s doing – see it, and Daniel will react, perhaps make a noise. That’s death. So you stay there, panicking, panting, staring at stones, unsure if it’s even in the room any more.

While the idea of a player character who’s lost their memory may induce a groan, here’s the game that’s allowed to do it. This allows a narrative of gradually revealed horrors to seep back in as you progress through the first-person adventuring.

And it really is adventuring, but in a way that – if only any other developer in the world had had the sense to copy from Frictional’s previous Penumbra series – should be the genre’s new direction. Taking Penumbra’s technological reigns, once again this is a collection of large, complex physics puzzles, combined with exploration and inventory application. However, unlike Penumbra, there’s no combat whatsoever. That there’s still deadly enemies is in a large part why this is so damned scary.

You play Daniel, an explorer who apparently discovered some sort of magical orb. The only knowledge you have of yourself are the notes you left behind, and the memories that assault you as you enter certain locations. Why you’re stuck in a giant castle, and where you’re going, are unknowns. And because the narrative cleverly doesn’t come together in a meaningful way until the final acts, I’ll not say a word more.

So your objective is progression. Get away from where you are, because it’s bloody terrifying, and try to move on. And you can’t stick around, because the building itself is corrupting around you, the rocks growing horrendous pulsating flesh and exploding pustules.

Or more often it’s because you’re running for you life, too scared to turn around, racing until you can find a door to slam shut behind you. Really, having the character make yelps and frightened breathing sounds is completely unnecessary – I was making plenty of my own.

Running is the last resort. Ideally, should you hear the guttural groans of the grotesque mutant creatures that stalk the castle’s halls, you hide. Anywhere. Turn off your lantern, run toward darkness, and crouch. If you can find a wardrobe, climb in it and close the doors. Because you cannot fight back, and any attempts would be hopeless.

Running to darkness is quite the opposite of your usual intent. Darkness leads to fear, and fear leads to insanity. To maintain your mental acumen, you need to seek light, and it’s in extremely short supply. The building is inevitably plunged in black, and too long without being able to see properly causes Daniel to begin losing his already fragile mind. You discover a lantern early on, but the game’s rarest commodity is lantern oil, and you’re going to want to ration it for emergencies. The other option is finding tinderboxes to light lamps, torches, candles or fireplaces. These offer a faint glow in the gloom that can allow you to keep a grip on reality. But again, tinderboxes aren’t in wide supply, and you’re going to have to think carefully about where to create light.

The loss of sanity can only be restored by progression. (An absolutely fantastic improvement on the preview version’s Sanity Potions, that really made no sense at all). This is either geographical, or completing puzzles. It makes sense. These moments provide calm, offer satisfaction. It allows you to believe you’re having an impact, making a difference, and not just the victim to this horror show.

But insanity is rife, and you will be subject to it. The portrayal is splendidly evocative. The screen contorts, bellows, and woozily twists. Colours bleed, the world blurs, and you lose full control of your movement. At worst your legs give way from underneath you, and you’re left dragging yourself across the floor by your arms. And the sound. God, the sound. The screeching, screaming, wailing. The tinnitus drone, the whispering voices, the distorted, atonal instruments. Help me.

Every moment of sound is a masterpiece (with the exception of the voice acting, which is mostly decent, but rarely brilliant). The thumping machinery, colossal chains and cogs, dripping viscera, unholy moans, and swelling tunes constantly conspire to terrify you in even the most gentle moments. Add to this Daniel’s frantic breathing whenever he’s scared, and his little yelps of terror when surprised, and you’re left a gibbering wreck.

Those enemies – it’s not just a case of hiding from them. You can’t even look at them. Their sight is too frightening for Daniel, quickly tipping him over the edge.

It’s crazy how affecting it is, every time. I found myself chanting, “Only a game. Only a game.” But it didn’t work. And I think at the point where a horror game has anyone tell themselves, “It’s only a game”, it’s unquestionably a success.

One particularly horrendous (in the good way, you understand) sequence involves negotiating flooded chambers, stalked by an invisible beast. You can see its footsteps splashing in the water, and it can only detect you by yours. I’ll not ruin a moment of that bit, as it’s possibly the game’s greatest scene, but wow it inflicts terror.

The sense of urgency to get back onto a box, out of the water and onto the safety of a crate, is insane. The whole of my body tensing as the click of my mouse becomes more intense, more frantic, leaning forward in my chair as if that will help me climb to safety more quickly, my spine and chest tingling with urgent fear.

Things are so much more effective for the remarkable way you interact. It’s similar to Penumbra, except without the key to have the mouse become a cursor. Instead you use the central reticule to interact, pointing it at objects. When you can interact a hand icon appears, which lets you click on something to manipulate it. And you manipulate it in a tangible, real way. Opening a drawer isn’t clicking the button to initiate the drawer opening. It’s gripping the handle of the drawer, and then pulling it toward you. It moves as a drawer moves, as quickly as you pull it. Should there be an object inside, it will slide forward if you give the drawer a sharp tug. It’s so simple, but crikey, it makes such a difference.

The same goes for opening and closing doors, which makes that earlier description of slamming doors behind enemies literal. You can gently creak them open, just a crack, to peer through. Or slam them against the wall behind in a mad rush. Objects can be picked up, and sort of magically float in front of you – you have to imagine your arms for yourself. They can be rotated, and thus stacked into improvised structures. You can build ramps, or impromptu staircases to reach areas, from any local furniture.

It’s utter lunacy that more games haven’t mimicked this, but if Amnesia is the success it deserves to be, perhaps it will finally be noticed. For adventure gaming it’s the ideal solution to 3D, letting you apply inventory objects in the real world.

What I found most remarkable about this was the nonchalance with which I applied it. Stood by a balcony in the gloom, I wanted to know how high up I was. So I picked up a stone from the floor and dropped it over the side, and waited for the clatter. It wasn’t until I’d done it that I realised that no game had ever needed me to do this, let alone made it so instinctively possible.

There's quite a lot of winkies in the game.

There’s some silliness in there too. An unfortunate side effect of having puzzles be solved by improvising with the surrounding items is highlighting how daft it is when it requires a specific object in a specific place. One scene needs a rope to lower a container into a hole in the ground. The room is decorated with non-interactive spools of rope, but you have to find the correct bit of string in another location to get anywhere. A normal oddity for gaming, but here it stands out a little bit more. The hammer and chisel in your inventory is used to get past quite a lot of challenges, but there’s many where they’d clearly work but the game just says no.

The script isn’t perfect. There’s some broken English in a couple of places, and a huge number of very long letters you find aren’t voiced. Stopping to read a missive that doesn’t make narrative sense yet doesn’t really fit into the panicked theme of the game, and often things are so obscure that it’s hard to pull it all together in your head. By the end the core plot does come together extremely well, but there’s a lot that’s left confusing because you didn’t do your comprehension homework properly. Daniel’s voice veers between competent and a bit overly pantomimed, often quite mood-breaking. But Alexander’s – and you can learn about him yourself – is great.

But so much more is done so well. There’s an almost Valve-level of smartness with visual cues, and I cannot think of a game that uses audio cues better. Most times I got stuck anywhere were because I was forgetting to listen.

And did I mention it’s scary? I was inventing new swears by the end of it. “Fucking cocksticks, what the shitstack was that?!” And I confess I yelped on more that one occasion. One of them might be considered, by some, to be a squeal. But more often I’d find myself rigid with fear, my stomach pressed against my desk as I leaned into the monitor trying to reach the next illusion of safety more quickly. I think it is safe to say that Amnesia is the most successfully frightening game to have been made. It feels perhaps a slightly over-obvious observation, but the compliment is utterly valid: It’s Thief III’s Cradle as a full game. Unrelenting in its scares and jumps.

That this was made by a five-man team who built their own engine is bewildering. At around ten hours long, that it’s £13 (and discounted currently to pre-order for tomorrow’s release on Steam, GamersGate, and presumably elsewhere) is amazing value. If you pre-ordered it, you can start pre-loading now via Frictional’s site. I cannot recommend it enough. So long as you don’t mind being utterly bloody terrified.


  1. Neil Decurio says:

    I pre-ordered this game after my buddies on Steam kept telling me how the demo had frightened them so much that turning a corner was something they feared. Being that I haven’t really felt scared in video-games since perhaps Silent Hill, back in the days as a younger me, home alone, after midnight, with gusting wind hissing around the roof–I really were not prepared on the level of horror this game brings.

    The sound, is absolutely fantastic. Graphically it is alright, not a masterpiece, but by a indie-developer who created the engine on their own, this is nothing short of amazing. The game is dark, very dark. Your sources of light are sparse, since “matches” and oil (you come across a oil lamp fairly early on) are limited in supply.

    At some point, you are bound to run out of oil, and are left in near complete darkness – scared to take another step, as you hear footsteps, creaking noises and whispers close by. You muster the strength to continue, find a source of light – phew! You’re not in the dark anymore. The dreadfully scary darkness. You search around, find some oil near a little table, next to a chair and piano. You open the lid covering the keys, nothing of seeming importance, you close it again. You continue further in, go into a room on your right–suddenly you hear the piano play–“What the crapsticks..”–you take a careful awkward look outside the room towards the piano, there’s nothing there. You brush it off as just being your imagination and go back in to look around a bit more, then BAM! the room shakes, you hear something collapse, you rush out to see what happened, scared shitless. The path you took in has collapsed! Then you notice the piano.. the lid you closed are open.

    Get this game if you enjoy survival horrors. It’s absolutely the best scare I’ve had in 20 years of playing games. It’s so scary I used Exit and Save numerous times to take a time out and calm my nerves.

    • Neil Decurio says:

      Fairly early on, another part that really got to me, was as I was back-tracking a bit, suddenly I hear a growling noise, and quickly my eyes jump left and right — there to my horror on the right I see.. something. I quickly put out my oil lamp, run the other way, there’s a blocked hallway, so I hide inside. I calm down and take a peek outside, to my fear that “thing” was right there, it sees me, I have no means of escape, I fumble backwards and just as it reaches me, it dissolves into thin air before my eyes. “What the–just happened!?” was the first thing I said out loud (and I rarely say things out loud while playing games), but dash towards the exit where I had first seen that thing, grabbing my oil lamp, to get to the exit I must pass a really dark hallway, my oil runs out, I’m in complete darkness as my eyes adjust allowing me to faintly see the contours of the walls as I run out the door. Then as I load in, I go mentally unstable, then it sounds like something slashed open my guts, what I can only imagine is blood flies up in my face, I race forwards, stupidly take the first left and fall down some broken steps.

      Again, if you allow yourself to get pulled into this games world, it should definately be able to scare the jeepers out of you. Now it’s time for me to man up a bit and continue, without oil, in the darkness.. with monsters and what not around.. *whimpers*

  2. squirrelfanatic says:

    Just downloaded the demo and gave it a go (first of all to see whether the game runs smoothly on my laptop). Failed at the water part. Not so much scary as annoying up until now I must say. The game looks really pretty and the general atmosphere is great, but I am struggling with the controls. Especially quickly opening and shutting doors just doesn’t seem to work properly for me. I guess it IS a major requirement for the later parts of the game, at least the game trailers made that impression. Since so many people here are really excited about this game I am bound to give it another go later on.

    For now, the jumping-from-box-to-box-part frustrates me a bit too much to enjoy the demo. Oh, one question for those who mastered the demo: Is there any lamp oil to be found somewhere? I got the impression that I must have missed that.

  3. Xagarath says:

    Well, this is so far single-handedly making up for the shortage of good horrorr games lately. Bravo, Frictional. Please, keep making terrifying games.

  4. Freud says:

    I suspect I am somewhere halfway through and it is very impressive. Tension is very thick and the developers play fair with not all that many jump scares. It is scary but also very rewarding to push on. I like the Lovecraftian story this far too.

  5. Squirrelfanatic says:

    Ok, this IS frustrating. I barely managed to get to the lever (in this certain cellar filled with water and a certain danger nearby), pulled it and went around the obstacle course, just to end up in front of a readily blocked passage – again. This surely isn’t the first time I encounter such time dependent obstacle courses but I do consider it a flaw in the game design. It’s not necessary to put the player under any more pressure in this situation, it is tense enough as it is (in my opinion). Anybody knows if this is going to get any better?

    • Huggster says:

      Its entirely necessary to put the player under pressure. Take it like a man! ;-)

    • Squirrelfanatic says:

      Will do, uninstalling this second. Time to play some games I enjoy.

    • Freud says:

      You can run in the water here and there to save time without being hit.

    • Squirrelfanatic says:

      Thanks Freud, but it seems I plainly suck at this kind of thing. :/ Plus, I am easily frustrated by such time dependent “puzzles” and decided that it’s just not worth it.

    • Shadram says:

      It’s not really a “time dependent puzzle”. It’s forcing you to get in the water and play with the beasty. After spending so long avoiding going in the water, it’s the last thing you want to do, and the only thing you can do.

    • Squirrelfanatic says:

      Hm, not much of a beasty here. It’s more like a moving / tracking death trigger, which I don’t find scary after being popped by it for the 3rd time. Of course you have to get into the water, but I either

      a) am not fast enough to get to the door or
      b) charge for it and get fragged.

      I guess I’ve been doing something really really wrong, since I can’t imagine being it that difficult.

    • suibhne says:

      I just finished that bit, and it’s not hard at all once you get past the pervasive sense of instadoom. You can’t spend much time in the water, because the beastie is much fleeter of foot than poor Daniel (as you learned); you’ll actually use the same route after pulling the lever that you did before doing so. If you don’t have the route down pat, you might want to practice it first.

    • Malagate says:

      @squirrelfanatic, really I’ve found there’s loads of time given to get to the door, I would suggest learning the route and trying to make it as tight as possible (don’t be too afraid to get wet), as well as some thinking of what attracts the creature and look at what else you have to hand in the cellar archives.

      Also I presume you’re playing the demo (as that’s not the first time dependant puzzle in the full game), and I think the demo doesn’t include the sprint key for some reason (left shift). It’s a lot easier in the full game, but then I had practiced a lot in the demo (and died quite a bit from panic/slowness in the water/lost in the dark/no more healy potions).

    • Squirrelfanatic says:

      Alright, alright you’ve convinced me to act against my own intentions and give it yet another go! I’ll brace myself, grow a pair, man up, etc. etc. and try to actually brute force this part. Maybe I’ve just been too clumsy during my past attempts.

      Everybody seems to enjoy this and I don’t want to be the THAT kid who doesn’t. I would actually feel like I’m missing out on something great.

      Gooo peer pressure!

  6. Shadram says:

    Loving the game so far. Had to give up last night after being chased by some evil, evil beasty that wouldn’t give up. I’d gotten scared earlier in that part, and lit a load of torches, so I had no darkness to hide in and just had to keep running. In the end, I ran out of corridor to run down and got ripped to pieces. And in the game, too.

    • mcnostril says:

      I think I know what part you mean, because I did the same bloody thing.
      Running low on oil, I lit pretty much every torch I could find. Not the best idea as it turns out.

      I decided I would try to make a run for it, but as it turns out, they’re quite fast – I nearly jumped when I glanced backwards and saw it gaining on me incredibly quickly. It became even more frantic because that backwards glance made my insanity get worse and the controls started lagging to hell.
      I too ran out of corridor, but I actually managed to run in a circle around some furniture, which bought me enough time (and a swipe to the face) to run into one of the few rooms I hadn’t lit up and slam the door. Then it was just a matter of staring intently at the wall and hoping that Daniel didn’t actually yelp.

  7. Item! says:

    2 hours in and loving it.

    Definitely worth your 15 pounds.

    • suibhne says:

      That’s about how far I’ve gotten, just past the watery cellar, and I’m finding that I can’t enjoy more than about 30 minutes at a stretch because it’s so high-anxiety. That doesn’t diminish my enjoyment of the game, but I can’t think of another gaming experience quite like it.

  8. Huggster says:

    Okay this is clearly game of the year material, if not bigger than that, at least so far.
    I think its a bit like Blair Witch Project, Paranormal Activity – films like that. You either “get into” it and let your mind get carried away, or just don’t – it really depends on the person.

    Its about 50x scarier than Penumbra BP.
    Its far scarier than the Cradle (think so – its a long time since I played the Cradle though. There were a couple of scary moments but … did not feel as vulnerable).
    Its scarier than Condemned – which ended up getting more creepy than anything.
    Definitely scarier than Dead Space – which only had a few really scary moments.
    Clive Barkers Undying …. nice game, not really close by a long stretch.

    This has really pushed far, very far, into a really disturbing place. Its the first game I had to stop and let my heart slow down. My legs we trying to run along with my character in some frantic uncontrolled panic at one point.
    I am keenly into lots or psychological horror from 1945 onwards (Dead of Night, The Innocents, The Haunting, Night of the Demon, BBC Ghost Stories for Christmas). I also love novelists such as M.R. James, Sheridan Le Fanu and Algernon Blackwood.

    Its like I have stepped into one of those stories – this feels just what its like to relive them at their best.

    This is one of the best experiences I have had gaming in years – really.

    Have you all seen Pan’s Labyrinth? Imagine the part where the girl is being chased by the “thing” – that is you in this game. Over, and over, and over, and over. Its bloody awful, but so great.

    After watching Paranormal Activity, I thought those “moments” in the film were as scared as you could get. Boy was I wrong!

    Simply amazing.
    I am very happy that this has been done and the developers should be very, very proud of themselves. They know their influences (all sorts of real life and Gothic fiction stuff in here ….).

    Anyone even remotely into psychological horror should play through this game slowly, with headphones, in the dark, with no distractions.

    • Huggster says:

      Also how could I forget the grand daddy – Alone in the Dark.

  9. Xagarath says:

    A little off topic, but since we seem to have similar taste, may I recommend you read HR Wakefield, William Hope Hodgson, Arthur Machen and Oliver Onions, and watch The Stone Tape, Ghostwatch and Carnival of Souls? Assuming you haven’t already, obviously.

    • Huggster says:

      I wouldn’t say it was off topic – this game would not exist but for its influences! ;-)

      Yeah I have seen those movies. Ghostwatch is a classic! I have read “Beckoning Fair One” by Onions, and will seek out the others – Machen I know of and I have heard of the other two. Time to hunt some more down I think.

      Also, have a read about this delightful chap who seems to have influenced the game:
      link to en.wikipedia.org
      Could be spoilerish I guess, not really though.

  10. RussianMob says:

    I think for anyone interested in atmoshpere and a bit of a fright it’s worth pointing out Metro 2033 again.

    • Neil Decurio says:

      While I enjoy Metro 2033, it comes nowhere close to the frightening experience Amnesia bring – Metro didn’t scare me once to be honest. It is so awesomely far ahead of anything that has tried to be scary in the past. I haven’t felt scared ever since my younger days when Silent Hill was new and it was somewhat unique how they pressed the psychological horror on you.

      I remember that night as if it was yesterday, a little past midnight, I was home alone and it was windy outside. I got scared and had to turn off my PS1 and play Yoshi’s Story on my N64 to calm myself with happy Ninendo-music. Ever since that night, I haven’t felt scared in a game. Silent Hill(s) stopped being scary, Resident Evil never were, Dead Space wasn’t either. Basically any game that lets me fight back on what is scary, is not scary anymore.

      This is definately what Amnesia has going for it. You get scared shitless, even more so because you can’t fight back. There’s an ever-present feeling of something being near.. around the next corner, inside the next room, outside the windows you pass, on the floor above you. I love this game, it proper scares me. (Except for a certain part with water, wich people have mentioned, the first time I got a bit jittery – but once the clue came up about not stepping in the water, then it just felt like a Mario platformer with burning lava below. Granted, the following part scared me proper, and I dashed through doors closing them behind me). The insanity mechanic is pure genius, as you trade off the “safety” of hiding in the shadows for your mental stability. You need the darkness, but you hate it, so you want to stay in the light.

  11. BoltingTurtle says:

    A friendly warning to those of us with bad habits from eve beer-fleets: DO NOT PLAY THIS DRUNK!!! You have been warned.

  12. Lucas says:

    I just finished Amnesia, and while it is scary, it’s not really a great game. It’s very atmospheric, and the puzzles work ok, but the light/dark/sanity and monster interaction was underwhelming gameplay-wise. I had stocked up 30 tinderboxes, 10 lamp oil refills, and 6 laudanum vials by the end. Amnesia is all nerves and tension and story, and not much gameplay. I won’t spoil the tricks, but once you understand the monsters, you can get by with doing very little, and its a bit disappointing. I also fell out of the world twice, and got unfixably stuck twice. Falling out of the map was a curious “there goes the sanity” moment actually, and when you pass a certain threshold it reloads your game.

    I thought Black Plague was outstanding, much more enjoyable, interesting, and fun to play.

    • Huggster says:

      I would give it 10/10 for the first half until Cistern than or 7/10 after that.
      I won’t spoil, but sometimes the unknown and confusion works better than the known and then explained.

  13. Ganders says:

    For a long time I’ve wanted to see AITD remade in a modern game engine, it seems Amnesia’s would be perfect for it, with an SDK available and all. It even has a lantern, similar logic puzzles and scary things that live in the water.
    If I had the skills i’d be strongly tempted to try it myself.

    • Ganders says:

      That was a reply to the post above mentioning alone in the dark but oh well.

    • chuan_l says:

      Its been remade quite a few times already, though none have really popped like the original. Maybe something about how radically immersive the 1st AITD was [ props to Frederick Reynal.! ] due to its use of 3D and digitised sound helped to create a fresh sense of surprise and wonder / horror ..

    • Huggster says:

      Those crazy French

  14. Jeremy says:

    This game actually hurts my heart.

  15. chuan_l says:

    I’ve only played a few hours of “Amnesia: Dark Descent” and finding that the game’s use of puzzles and pacing actually works against the atmosphere that it’s trying to pile on. It would be really nice if there was more risk and player investment a la “Demon Souls” where there’s real tension [ and importantly: danger ] involved in making any progression. Methinks perhaps those emotions are closer to the root elements of horror rather than the grab bag of idioms that we have now replete w/ raspy voices and squeaky hinges. Wanted to like this more, as I agree with a lot of the thoughts that Frictional post on their website however left thinking that the scare needs to be more than just an aesthetic layer. Now please excuse me while I take Pavlov’s dog for a walk ..

    • Crane says:

      I strongly suspect you’ll feel more horrified when you find out what you did before you lost your memories.

  16. chuan_l says:

    Interesting to read in a recent interview that Frictional began building all the environments first before adding the puzzles to break up the pacing in “Amnesia”. I’d be curious to see how far they can take it with just pure exploration / psychological mind fuck without the artificial game-y bits ..

    Frictional Games Blog
    link to frictionalgames.blogspot.com

    — Chuan

  17. Jason says:

    Woah this game really wasn’t a good choice for my first horror game, im too scared to play it now

  18. clive dunn says:

    If any of you guys had any balls you would drop a tab of acid, light up a fat reefer and then play this game. You’d be in the asylum before dawn!

  19. Jeremiah Gaber says:

    So ive put quite a few hours into this game so far. But is soo f’n scary im not sure i can finish, yet it draws me. Ive gotten down the elevator, and after encountering the enemy there, and nearly pissing my self, im not sure if i can play any more. great game though

  20. Ankheg says:

    Played it a little. Could anyone tell me, what does rose petals mean? That is some sort of metaphor, somebody suggested that they can mean ingredient for the amnesia potion.

    • Malagate says:

      @Ankheg, continue playing it, you’ll find out what the rose petals mean eventually. It’s very good too, so I will say no more.

  21. Flimgoblin says:


    I love how progress = regaining sanity as that kinda works in the real world too for me with horror films/games (as in finishing them gives me closure, stops me freaking out :p)

  22. Marc says:

    It’s an awesome an frightening game…really scary. I’m currently playing it and being chased by the invisible monster down in the underground, really was a terrifying experience. I can recommend it to anyone who’s interested in mature themed horror games. The only think I couldn’t agree with about that review, that Amnesia is the most scary and stressing game ever. Amnesia brings you close to an heart attack, but Dead Space makes sure you get one…:D

  23. luckyjoe says:

    Surprisingly good review for someone who can not spell “what”.

  24. mindw0rk says:

    Great review, just like a little scary story. I gave this game a try, but gave up quckly. Dont want to die from heart attack