Alone in the Dark

The newest Alone in the Dark is the fifth installment in a survival horror series that spans all the way back to the early nineties—the very one that is, in fact, credited with giving birth to the modern incarnation of the genre. Though beloved by the more ardent followers, the series had mostly faded as an unsuccessful fourth game came to be in 2001. Matters certainly weren’t helped by the release of Uwe Boll’s 2005 film, which was based very loosely on the game series and just so happens to be among the most critically scorned films in history. With such recent admonishments on its track record, the developers would be hard pressed to go anywhere but up from here, right?

Nonetheless, Alone in the Dark has found itself in a very strange predicament with its release. Those who were avid followers are long gone, and new fans are looking for more of a Resident Evil experience than what the original installments offered. Does it cater to either side, no side, or to both?

The answer is, unfortunately, too difficult to really allocate to one, single response. There are familiar overtones and even a shared central character, but something is missing. While the atmosphere remains engulfing, it’s of an entirely different nature than what can be found in previous installments. What we are given is a product that is not only having difficulty identifying with its predecssors, but really wants to sell itself to the Leon Kennedy fans of the world. Oddly enough, this somehow manages to carve a remarkable game out of what most expected to be anything but noteworthy.

The story to the game is one that not everyone will grasp at the onset—in fact, it's one you're likely to be clueless about even by the time you reach the conclusion. The “ancient conspiracy” premise behind the plot will likely deter those players that have signed up for what they have come to expect from the genre’s average fare. That said, there is something to be learned from the way the characters approach the plot itself. The characters do not click immediately, but when they do, you'll be pleasantly surprised. That is—until the ending.

The player takes upon the role of Edward Carnby, in present day, which is likely to baffle players of the original games, but all is explained in time—although it may not be to your satisfaction. Carnby has changed dramatically since his prominent featuring in the original games, but the spirit of the character remains somewhat intact. The voice actor for Carnby is actually extremely well cast and certainly doesn't hinder your appreciation for the character. This is supplemented well, in the end, by the remaining voice actors who range from bearable to unremarkable. With a cast that blends as well as this, you likely won't have any complaints nor praise for the jobs they've done here. They may not be able to save the story, but at least the dialogue is sound.

So, the story is not exactly the Godfather—that we’ve established. What is it that makes this game worthwhile then? Of course, it's that which is most important: the gameplay.

Many of the ideas put forth in the gameplay model here are absolutely welcome additions to what we all have already come to expect from survival horror games. Item preservation is rewarded with an intuitive combination system that allows you to combine nearly all of your items that result in some innovative results. At first, this feature may come off as somewhat forced, but you'll soon find yourself relying on it as you would a shotgun in other games. In Alone in the Dark, though, you’re forced to rely on only your pistol and the combinations you can dream up, as there are no other firearms available. Some would deem this a handicap of sorts, but it actually results in some interesting strategy sessions.

The majority of the gameplay will have you alternating between first and third person views. This gameplay takes many cues from its contemporary brethren, particularly Capcom’s Resident Evil 4. The third person controls are somewhat awkward at first and can become quite a nuisance in tight situations early on. At times, you will find yourself switching to first person mode simply to flee from hostiles. This is not helped by the aforementioned lack of variety in firearms—although this likely won’t dawn on you until you’ve completed the game, as you’ll spend most of your time sorting through item combinations. While sorting through items, you’ll notice that the active nature of the gameplay forces you to think and act more quickly than you likely will in other, similar games. This is likely to enthrall some and continually frustrate others, and can’t be helped by the fact that you can only permanently dispose of enemies by way of fire.

Due to the fact you will be using fire as your most deadly asset, you won’t have any obstacle preventing you from discovering how spectacular the fire itself actually looks. As it continues to burn in real-time, you can see it damaging and overtaking susceptible surfaces just as you would imagine fire to in reality.

In addition to this, the visuals in the game are equally impressive—something you wouldn’t expect from a small-time game of this genre. The character models are all very pleasing to the eye, as are the many enemies you’ll encounter. They all react fluidly and accordingly to the damage you’ve dealt out, exactly as you would expect from even the most acclaimed titles.

A seemingly big inclusion in the game is the ability to skip sequences within any given episode in the event you find yourself in a tight spot. Prior to the release of the game, I had debated as to whether this feature would be of any use to anyone. My ultimate decision was that it was done to solidify the episodic structure of the game, which was a feature I once expected to open the way to expansion DLC. Skipping, though, likely will not appeal to the average gamer, as we are bunch that likes to do things as we come to them and aren't fond of conceding defeat to just any adversary. The game itself isn’t particularly difficult, either—some sequences will take you by surprise should you have insufficient items in your inventory, but aside from that, you won’t have many problems in this field.

The puzzles found within the game are genuine in their creativity, but not so much in their challenge. Some will have you ending in abrupt failures you didn’t see coming while others will have you standing in one room for five minutes at a time. Few of the puzzles will demand any longer than a handful of minutes, and will likely have you slapping your forehead for not seeing the solution immediately. One of the more precarious inventions for the game, the item combination system, plays an important role in the progression of the puzzles. That said, once the game first requires you to sort through your inventory and available item combinations to dispose of an obstacle, you’ll likely be mostly well-aware of what’s asked of you in future predicaments.

On the other end of the spectrum, the driving mechanics in the game are far from perfect. Defying the laws of psychics becomes commonplace while driving through certain areas of the game. A number of seemingly nice touches, such as Humanz clinging to your car in numbers to avert you from reaching your destination, become nuances rather quickly due to their ability to home-in on you in mid-air. The game does ultimately handle well enough behind the wheel, and only became an obstacle a few times throughout  my playthrough of the game.

Alone in the Dark also breaks free from and arguably surpasses some of its contemporaries with its decided atmosphere. Many of the game’s well-produced dramatic sequences rely heavily on a healthy highlighting from its abundantly spirited soundtrack. The original score by composer Olivier Deriviere tends to come off as surprisingly original and engaging—something increasingly rare for survival-horror gaming and even games in general. Much of the soundtrack is brightened by a very inspiring choir backing that truly delivers on increasing the tension set forth by many other aspects of the game.

Fans of the previous titles, as I mentioned earlier, are going to feel somewhat lost in the overbearing action sequences—something ultimately unfound in the original titles. With that said, it is a difficult task to evaluate all of the features present in the game without first adhering to the numerous technological flaws. The game does deliver where expected, but many of the intuitive ideas presented are often overshadowed by a lack of proper technology to support the ambition behind them. Combine that with an unbelievably abrupt ending and you are left with a game that has a lot going for it, but simply not enough to qualify it as a marquee title.