This can certainly be helped by playing in a sufficiently dark area or by adjusting the game’s brightness, but it does hamper the overall portability of the game. Like The Bunker, the setting in Layers of Fear is fairly dark, making it difficult to see things when playing on the go in a brighter area. Unfortunately, while headphones add to the experience, the title can be a bit of a hassle to play in handheld mode. The small amount of voice work is a bit on the generic side, but when everything else in the game sounds as good as it does, it’s a minor complaint. Players will definitely want to plug in a pair of headphones for this one to get the best aural experience. Ringing phones, giggling dolls and eerie murmurs (also reminiscent of those heard in Eternal Darkness) add to the game’s atmosphere. A big part of the horror also comes from the game’s terrific audio. There are quite a number of “jump scares,” and while they might turn off some players, they’re undeniably effective. The title takes place from a first person perspective, and developer Bloober Team uses it to terrific effect. Though the player needn’t fear death, there’s plenty enough in the game to fear. Occasionally, an encounter with a ghostly figure will result in the player being knocked unconscious, but these moments are intentional, and never lead to a “Game Over” screen. The painter’s house is devoid of the types of aggressive enemies so often frequented by titles in the survival horror genre: there are no zombies, aliens or Lovecraftian foes to be found and, thus, none to kill your character and send them back to an earlier save point. The result is a fairly linear path that never feels linear.ĭeath plays a major role in the game’s narrative, but it never truly comes for the player. Most of the time, only a single room or two can be entered, and doors often lock behind the player. This might sound confusing, but while Layers of Fear is filled with nightmares, navigation isn’t one of them in truth, the game does a good job of preventing players from getting lost. Like the Overlook Hotel in the film version of The Shining, however, the home defies architectural logic: rooms constantly change locations, floors become ceilings, and a small office stretches several stories into the air. To complete the task, players will have to search the house for six body parts to use in the making of the painting. The gameplay of Layers of Fear: Legacy centers around exploring the painter’s home in an attempt to finish the painter’s ghoulish new masterpiece. Throughout the game, players get glimpses into the character’s past, through notes the painter exchanged with his wife. Once a devoted husband and father, his bout with “artist’s block” only became further compounded following a tragedy, and his state of mind was similarly impacted. Layers of Fear: Legacy puts players in the role of a famous painter that found himself struggling to recapture the acclaim of his earlier works. In Layers of Fear: Legacy, the sanity of the game’s nameless protagonist also plays a major role, and while the sanity effects are quite different, the way the game portrays the character’s descent into madness is every bit as compelling as it is in that GameCube classic. The highlight of this feature wasn’t the way it impacted the characters in-game, but rather the way it impacted the person playing the game, as a fly would cover the screen or the TV volume would suddenly decrease. When Eternal Darkness released on GameCube back in 2002, it brought something new and different to the survival horror genre in the way that sanity played a pivotal role in the game’s narrative.
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