Layers Of Fear Delusions Of Grandeur

Layers of Fear the original from Bloober Team, became a gaming sensation almost overnight when its stunning Steam early access version offered truly imaginative views to players. The sequel continued the original themes of the mistreatd artists, but exchanged a painter for an actor and probably offered even more inventive images. Both games were fine in my opinion, but nothing more. Now that Layers of Fear is being reborn on Unreal Engine 5 with new content interspersed with what was there before, it seems to be the definitive way to experience the horror series. However, its caves remain largely empty. The new engine makes the game a visual reference, but it still feels more like a haunted house in a theme park, offering the illusion of peril, but never anything sincerely pressure.

Perhaps the first hurdle in criticizing the reinvention of the series is to explain exactly what this package offers. Layers of Fear and its sequel return 80% of the same thing that you may have experienced before. Some scenes were redrawn or added or even removed if I remember. Both games get a new, but ultimately superficial mechanics that allows for some action sections where you have to blow up stalking ghosts with light to bring them to a standstill while escaping your maze settings. The short legacy DLC of the first game is also included, and a brand new DLC, which should complete the series cleaner than before, the Final Note, debuts.

The best thing about it is actually the framing narrative, the writer’s story. Integrated directly into the game, as you move through the connected parts, you will regularly return to a lighthouse where an author tells the story of the other haunted artists of the game: the painter, the actor and the musician. As with the main games, the author has to do with his own haunted games, and I think the format is chic and quite unpublished for the medium. It sounds like a horror anthology like V / H / S, only in this matter all the individual stories end up sharing a universe.

This delivery is convincing, but it has the strange effect that every single piece looks more disappointing, since for the most part they have difficulty holding out on their own. Layers of Fear always felt more like an amusement park ride than a survival horror experience, and this MO just doesn’t seem conducive to creating real tension. Even in these new versions-which are trying to add more possible endgame screens-the moments are too scripted and enemies are practically non-existent. The novelty of entering a room, seeing something strange and then turning around to find out that the environment has changed perfectly before they are sometimes mind-blowing but never scary.

The first game also feels desperate not to be misunderstood, to the point where his story is so naked that it break faiths the saying “show, not tell” at every turn. The Final Note DLC tries to explain even more by putting you in the role of the one person you never play as in the original DLC or his legacy. The legacy is also mechanically frustrating due to some confusing puzzles, but its intention to show the world through the eyes of a child makes it more memorable than anything other rooms do, unless you count the broken enemy experiences of the new DLC, where the ghost that haunts me gets stuck halfway in the ground.

The highlight is certainly Layers of Fear 2, which has more to do with its setting and story than the rest of the series combined. Unlike the unnecessarily obvious original, the sequel is sometimes too surrounded by metaphors, even if this makes the reenactment of everything more interesting.

While the other games all take place in endless darkness, Layers of Fear 2 plays on board a cruise ship where a movie was supposed to be strike, and he is not afraid to sometimes turn on the lights and constantly play with different palettes and landscapes. It’s more memorable in the end than the original’s house, which feels like the same room but has its own nightmarish scenes to play with. The story is both a twisted history of the method game, and a gloomy devastation, and an almost constant tribute to the past of horror, with allusions to the Shining, Psycho and more, presented as exhibits in a horror museum. Everything is also told by actor Tony Todd, who, given the tenor of his voice, fits perfectly, especially if you know his work as a Candyman and final Destination.