It's hard to make a good Lovecraftian horror game. The key to Lovecraft's horror was the mysterious intractability of his cosmic abominations. It wasn't just that they were ugly or deadly; the horror came from the realization that these monsters were part of a much greater cosmos that humans can barely comprehend, and that we are little more than ants to these god-like beings who could snuff us out of existence at a whim -- if they even cared enough about us to do so. In the century since Lovecraft wrote his stories, Lovecraft's monsters have become so iconic that Cthulhu is pretty much a universally-recognized, cliche monster along with the likes of Dracula and the Xenomorph. The closer a story adheres to Lovecraft's ideas, the more familiar it becomes, and the harder it is to create that sense of being overwhelmed with unfathomable knowledge that drives a person insane.

That is why I think that FromSoftware's Bloodborne is perhaps the best video game adaptation of Lovecraft's concepts (even though it is not a direct adaptation of any of his stories). Bloodborne's esoteric and arcane lore, and the indirect nature in which it communicates its backstory, actually does create that sense that the player is just a small piece of a much larger puzzle that you will never fully comprehend. And the difficult nature of the game means that the player certainly feels like you can be snuffed out of existence at any moment.

Moons of Madness isn't mysterious, or arcane, or particularly threatening. It's cliche and predictable to a fault.

Flatline

I saw almost every plot point coming from a mile away, and if you don't want spoilers, then I suggest you skip ahead to the next section. I didn't expect there to be a full-on underground lab complex akin to Resident Evil 2, but it wasn't something that came off as very surprising considering how telegraphed the corporate conspiracy "twist" was from the start. All the other twists, however, came off as rote and stale. The science experiment gone haywire, the relief ship crashing, the reveals about the protagonist's family history, the multiple betrayals ... none of it came off as even remotely surprising, and the whole game degraded to simply waiting for the next shoe to drop. The game isn't very long, but the predictable nature of its plot made it feel like it was dragging on for much longer than its six-ish hour playtime.

The secret lab was not a surprise and only distracted from the cosmic horror.

Worse yet, the corporate conspiracy stuff ended up distracting from, and drowning out, the Lovecraftian cosmic horror. The monsters don't feel mysterious because they're all the results of experiments being done at the request of the evil corporation. The Lovecraftian temple complex and "dreamers" fall flat because their existence is spoiled much earlier in the game. Heck, the other characters visit the temple and tell you all about it over the radio, while you're fumbling about the silly underground lab, so by the time you get to the temple, it's not mysterious at all. I think the point was to try to convey the awe and wonder of the NPC characters in the hopes that it would instill a sense of awe and wonder within the player, but all I could think was "I'd much rather be playing as those other characters right now!"

When all is said and done, I feel like Observation (despite not being directly inspired by Lovecraft's mythos) pulls off the cosmic horror shtick much better because its alien influences remain mysterious and intractable all the way through the end -- perhaps to that game's fault.

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Well, the football video game price wars have apparently begun. Unfortunately, however, the prices are not shifting in the direction I'd like. Instead of EA being forced by competition to drop the price of Madden to something reasonable, like $30 (as they had to do in 2004 to compete with ESPN NFL 2k5's budget price of $20), both Maximum Football 19 and Axis Football 19 have upped their price from $20 (in 2018) to $30 (in 2019). I've already complained that Maximum has shifted its retail price out of the budget indie tier and into the middle-market (or "double-A" tier), and that Maximum isn't quite up to the level of quality that I might expect from a title at that price.

Axis Football doesn't feel quite as over-priced, as it was a much more feature-complete product to begin with (and remains a more feature-complete product this year, despite Maximum's new dynasty mode). That being said, I don't feel that Axis is improved enough to warrant a 50% jump in price.

Whereas Maximum focused on adding a much-needed dynasty mode in order to prop up its mediocre-at-best on-field gameplay (and moderately succeeds in that regard), Axis already had a working Franchise mode. What Axis needed was to improve its on-field gameplay. ...But they kinda didn't... Like, not at all...

Same as last year?

I was optimistic about Maximum Football and Axis Football because I expected them to make significant improvements to on-field gameplay from year-to-year -- something that EA has consistently failed to do with Madden over the last ten-to-fifteen years. So to see both of these indie games play virtually identical to last year's counterparts is very disappointing and has substantially deflated my initial optimism.

If you read the gameplay section of last year's review, then you pretty much know how this yea'rs game plays. Axis Football 19 still has much of the same rigid and robotic player animations. The locomotion system is terrible and allows runners to cut and turn on a dime. Defensive players still frequently stand in place. Deep zone coverage is still atrocious. The CPU still never defends 2-point conversion attempts. Receivers still lack varied or convincing catch animations, and defenders similarly lack pass defense animations. Blocking and tackle interactions can still be triggered with players who are not in physical contact with each other. I can still run my defensive end around offensive tackles, unblocked, for free sacks.

Some football rules are also still wrong or not implemented at all. Axis might as well just end games in ties if they can't implement a working overtime ruleset. I can still exploit kicking kickoffs out of bounds without penalty in order to pin opposing offenses deep. There's no fair catch. I can't motion receivers before the snap to see if the defense is in man or zone coverage.

The developers failed to address many of the problems that plagued last year's game --
such as poor deep zone coverage [LEFT] and the ability to easily run around offensive tackles [RIGHT].

Much moreso than last year, I'm noticing that outside runs seem to be far too effective. The reason for this seems to be the crazy success rates of receivers making (and holding) blocks on the edge and in the second level. Safeties are not only bad at deep coverage, but they're also terrible in run support. They stay back too deep (and sometimes just stand around), instead of trying to meet the runner in the lanes or trying to force an outside run back inside. If a receiver or tight end gets into the second level and blocks the safety, then the play is practically a guaranteed touchdown.

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Having a little bit of free time between playing Madden 20 and starting out this year's indie football games, I checked out a couple indie games that I've had sitting around in my Steam library for months. Both are player-driven mystery games about trying to deduce the events of the past. The simpler of the two is called Her Story, which is a game that released all the way back in 2015. So I'm quite a few years late to this party.

Her Story attracted my attention because it was developed by Sam Barlow. Barlow had previously worked as a writer for Silent Hill: Origins and Silent Hill: Shattered Memories. Personally, I felt he and the other writers at Climax had butchered Origins. His work on Shattered Memories, however, which was not bound by the constraints of established Silent Hill canon, went in a more interesting direction. Maybe not as interesting as if they had gone with the initial Cold Heart pitch, but whatever. I was curious to see what Barlow would do when completely free of the Silent Hill namesake.

I was curious how Sam Barlow would handle himself when free of the Silent Hill namesake.

Down the deductive rabbit hole

Her Story stands out because it is a completely player-driven experience. You have almost free access to a database of interview answers from a woman who is a suspect in the disappearance (and murder) of her husband. The game consists of searching through a series of live-action videos of interview questions, in which every word of her answers have been indexed for search. The catch is that you can't simply watch all the clips in order, and the game will only give you (at most) the first five clips at a time (in chronological order). You also don't know what questions are being asked, so you don't necessarily have the context for her responses.

Each response is laden with bread crumbs of keywords that you can pick out and search in subsequent queries in order to find related videos and discover additional details about the suspect's life, the victim's life, and the events leading up to the disappearance of her husband. This is where Her Story really shines. The game starts with the word "murder" in the search bar, and each clip that you watch will reveal new names and places. This should lead you towards going down the rabbit hole of searching for each new name or place until you eventually come to the weirder and more interesting testimony.The scripts is expertly designed to distribute bread crumbs in such a way to dole out the story over the first hour or two in order to build up the mystery.

Pick out key words from her testimony to find related statements.

There's also no hand-holding or guidance of any kind. It's just you and the search engine. It's entirely up to the player to input the words you want to search for. You can follow-up on a particular clip by searching for a keyword in her response, or you can search for some completely different, random word(s) instead. The game doesn't highlight the next words for you to search. It doesn't stop to tell you that you've "solved" some mystery or completed some objective. There's a widget that shows you how much of the database you've viewed, but other than that, there is no in-game progress-tracker. In fact, there's not even a real end goal.

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Blair Witch, as an intellectual property, is in a frustrating place similar to the Alien franchise. Both were innovative horror films that set numerous standards and conventions within their sub-genres, and which have been copied and ripped-off numerous times. Sci-fi games from Starcraft, to Metroid, to System Shock, to Dead Space have all taken heavy inspiration from Alien and Aliens. So much of the iconography of Alien and Aliens have been borrowed by these games, that when someone comes along with a game based on the Alien intellectual property, it's hard for that game to not feel like it's derivative of one (or all) of the myriad Alien impersonators.

the Blair Witch Project has similarly left a mark on the horror landscape. It single-handedly popularized the "found-footage" genre against the backdrop of a creepy, supernatural forest. Games such as Outlast, Alan Wake, and even Resident Evil VII all have a little bit of Blair Witch in their DNA. So when a game comes out that actually bears the "Blair Witch" name, it's kind of hard for it to stand out in the larger horror landscape.

Plenty of games (such as Outlast [LEFT]) have used tropes inspired by The Blair Witch Project.

This is the case with Lionsgate and Bloober Team's new Blair Witch game, exclusive to Microsoft platforms. Nothing that Blair Witch does feels particularly new or creative, even though most of the game's ideas are competently executed. Using a camcorder as a tool for navigation, exposition-delivery, and puzzle-solving feels pulled straight from Outlast or Resident Evil VII. Wandering through the woods and defeating monsters by pointing a flashlight at them gives me flashbacks to Alan Wake. Navigating the forest and occasionally picking up other people's trash also reminded me of Firewatch. Eventually, the whole game descends (rather predictably) into P.T. territory -- but, you know, without all the nuance or careful pacing that made P.T. so unnerving.

Who's a good doggy?

Blair Witch's most innovative feature is probably the dog companion (named Bullet), but even that feels pulled straight from Fallout 4. I probably would have been a bit more impressed if not for the fact that Bullet seemed to lose relevance as anything other than a monster compass, for a large chunk of the middle of the game. Without having healing items or ammunition or any other consumable supplies, the ability to send the dog out to find things feels like a sorely under-utilized mechanic.

Bullet is very well-introduced, and is integral to the early levels of the game. He finds clues for you, fetches key items, guides you to the next objective, and warns you of potential danger, all completely organically and without breaking immersion. But after a couple of hours, he just runs out of things to find and things to do. The puzzle shift away from using the dog, and more towards using the camera to do everything from manipulate the environment, to navigate mazes and looping paths, and even spotting monsters.

Your emotional support dog, Bullet, serves an integral role throughout the game.

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There was a surprise indie hit on Steam a few months back. The prehistoric city-builder / management sim Dawn of Man saw lots of buzz around its release date and sold well beyond the developers' expectations. Did you buy it? Is it on your radar, but you haven't purchased it yet? Have no idea what Dawn of Man is? Well, it's a pretty good indie game that is well worth a look for those into city-builders and management sims. If you liked Banished (and you should have liked Banished if you played it), then I would say you owe it to yourself to give Dawn of Man a look.

Dawn of Man can be a difficult game to figure out, especially as you work your way into the middle sections of the game where the options available to you suddenly explode into a myriad of possibilities. Some of these difficulties can be traced back to the game having a sometimes-lackluster U.I. that makes some of the management more difficult than it needs to be. Other difficulties are simply things that you have to experiment with to figure out.

Well, I've done a bit of experimenting, and am happy to offer some of my observations. I hope these tips will help you to get into Dawn of Man with less of the headaches and growing pains that I experienced, so that you can get to enjoying this surprise indie hit more quickly.

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