Asbestoscape - And So the Story Goes
(you're not getting a Metallica song suggestion unless your sequel turns out much better)
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Look out, Old Gods, I've got a Tommy gun! And springs!
I thought I'd polish off a quick adventure game in between longer titles, but somehow mixed up The Sinking City with... maybe The Forgotten City? Dagon? Apocalypsis? Scorn? my backlog's getting unmanageable. In any case a first glance at the FPS interface and expansive map revealed this is not the shoestring-budget old-timey point-and-click adventure I had expected. Which is both good and bad, as I discovered when setting out to explore the 3D wonderland a bit before the tutorial quest and, this being me we're talking about, managed to get myself stuck on terrain and die within the first couple of minutes.
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| Lousy Lake Lachrymose Leeches! |
But alright, I told myself, I could stand for a bit of Lovecraftian lurking fear, a creeping immersion into vague hints and portents of gruesome, dehumanizing terrors metastasizing indistinctly beyond the bounds of mundane human experie - WHOA!
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| The honorable Bob Throg, esq. (probably?) |
Instead, I gotta say, it eventually drew me in.
Quite a few stylistic details irked me, especially at first. I've always assumed Innsmouth should be pronounced closer to Inns-muth not -mouth as in chewing. One mob's a blatantly 'roided-out Half-Life headcrab. The writing is decidedly prosaic compared to its infamously purple inspiration. Not bad or jarring, but compared to what The Secret World's writers had accomplished with the same material eight years prior, Sinking's still amateur hour. The shallow and blunt presentation just reinforces my view that everyone really needs to give Lovecraft a rest.
Most all its flaws, though, stem from one fundamental design decision. Like We Happy Few and a string of other adventure/RPGs from the 2010s (or more recently the object lesson of Bloodlines 2) there was little reason for this to be an open-world FPS Skyrim clone, or then pile on with MMO-inspired graveyard runs and designated resource grinding zones. That's what the kids these days like, right?
The aforementioned rushed suspense is partly mandated by FPS mechanics, but one terrible design choice does not vindicate the other. Combat is easily the worst part of the game, with bad or nonexistent collision and hit confirmation, hitscan abuse, clumsy spawning or pathing. And they got very little variety out of it with only two boss fights, one easily skippable and the other toward the end of the Fathers and Sons chapter illustrating the system's every weakness. You
get thrown into it with no chance to scout first. The chamber is
gigantic and there's zero indication of what you're supposed to do. No
hit confirmation on the boss so it looks invincible. Per genre conventions praying cultists
normally have to be exterminated in such fights in order to render a
boss vulnerable or stop add spawns but are here irrelevant. There's no indication where the biggest source of damage is coming from unless you're staring at your feet at exactly the correct moment. Outside that, though the four basic mob types and their alternate variants (invisibility, self-resurrection) are interesting at first, their random lurching movements fail to evoke their intended eeriness and simply become infuriating by repetition.
The setting of Oakmont itself serves as the main attraction and is indeed a lovely burg. It's got old preindustrial manor houses, dingy apartment stacks, even dingier shoreline wooden shacks. But then it duplicates, triplicates, quadruplicates its available inspiration. Huge place for a no-name developer's sophomore effort. Thus it predictably sapped the team's capabilities, forcing them to copy-paste decor ("Men's finest clothing" and "Whately's household chemistry" obviously do a rollicking business with scores of storefronts near you) and the period-appropriate art assets jumble together. The nominal existence of a technology during a particular decade in no way assured widespread availability. (How many rail guns do you own?) In the 1920s, even with internal combustion use exploding and even in this the land of Our Ford and that patent thief Edison, relatively few people had electric lighting or telephones and even fewer cars (relying more on trains and trolleys) especially in a no-name New England port town.
What, no horse wagons for hicks from the surrounding countryside? No bikes? Nobody row-row-rowed a boat in the 1920s? Well, it would've required extra models and animations, but as a result the setting looks a couple decades removed. All the worse as this repetitiveness applies to some quest locations including the "secret" false walls you're supposed to find in the same exact spot every single time.
The FPS nonsense interferes with the game's more important detective mechanics as well. Monsters spawn in (and around) in the stupidest possible way, simply teleporting in from the floor, and can do so while your interface is momentarily locked by clicking to examine a clue. And as if everyone weren't incongruously blase about the extradimensional creeps, this clashes with basic walking about town. Cops shooting you if you pull a gun on people out in the street? Sure, makes sense. Unless you were trying to shoot a monster, which they completely ignore to start shooting at you instead of the gibbering abomination from beyond time and space.
But that detective angle, along with the cases you uncover, ends up being Sinking City's saving grace. When not spinning its wheels or tripping over itself, it provides a refreshing balance of eyeing supernatural clues in GhostVision!(tm)
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| Breadcrumb trails have never looked less edible. |
- and perfectly mundane clue-gathering:
Instead of the usual automatic HUD markers just yanking you in every direction, you mark your own map based on street directions, themselves often requiring a look-up in various local registries like newspaper articles. While, again, they erred on the side of caution by unsubtle quest prompts ensuring clues would be more intelligible than poetic, it's a solid foundation for a sequel expanding on this sort of writing/environment integration I myself had coincidentally called for in the year preceding the game's release.
Alternate completion options may not affect your character's progression, but they're well-conceived as roleplaying quandaries. What more do you want? Colorful bit players, a few historical references, some hard quest decisions I'll split into a separate post, a bit of contextualized comic relief:
Though not a masterpiece, so much of The Sinking City is immersive, engaging, amusing, or otherwise admirable, yet at every turn hobbled by "hours played" padding and over-reach for twitch-gamer mass appeal, by farming random containers for superfluous randomized crafting loot, scanning hundreds of random blank walls with GhostVision, doing corpse runs and most of all alternately rushing and stalling plot development in the interest of getting players into the supposedly more exciting FPS side of things fast and often. Instead of easing in with a bit of sightseeing and vague hints, from the very start you're placing 21 case files by hand on the map (much of it DLC content) throwing you into monster fights. Come on people, pace is not a four-lett... pacing is not a four-letter word!
If you think The Whisperer in Darkness should've started with "here's a picture of a Mi-Go, go shoot it" you are missing the damn point!












