While the video game industry is rapidly growing in the world, Nordic countries seem to be catching up with this development. Sweden and Norway are already at the forefront of creating games that are conquering the world. Their developers are known for producing very specific games that have an interesting plot in it and at the same time are very enthralling.
In this review, we will talk about a game called Draugen, developed in Norway. Even though the game was a major breakthrough in Norway’s game development still it did not fully live up to its expectations.
Norway, mountain, cold
Norwegian Mountain, 1920. A young American Edward arrives with his mysterious companion Alice to the shore of a remote village, the only attraction of which is the old mine. All Edward wants is to find his sister Betty, but in a little less than a week, he has to not only achieve the goal but also to understand why the village turned into one big creepy cemetery.
It was the Draugen puzzle. Ragnar Tørnquist (The Longest Journey, Dreamfall) is responsible for the story and the script. After Dreamfall Chapters there were positive signs in this game and it became one of the acclaimed ones. But it does not prevent most from evaluating the game and voice the cons, if necessary. In Draugen, there are two storylines – Edward’s personal story and the mystery of the village. They are loosely intertwined and seem to exist separately for no particular reason. And both plots are predictable, with holes in logic, contradictions, and an abundance of names that alternate one another with too much speed and are not remembered. With the last one, Tørnquist made an error before, but in a two-hour leisurely adventure, the abundance of names and social statuses is quite superfluous. Branded innuendo tried to cover the built-in comic, but it is banal not to read – the text is too small for the maximum resolution of PS4, and guess the essence of the pictures is somehow not wanted.
However, one thing that we can say about Draugen is how perfectly its puzzles are designed. We should explore everything to discover everything and unfold the plot which is essential for progress. Paying attention to every detail in the game is pivotal because otherwise, you will not be able to solve secrets. The game’s chain of puzzles became an inspiration for many industries. They decided to look original and by solving puzzles offered guides. Most notably in Norway, the gambling industry was a pioneer in this regard where Gratis-spinn.com based their guides on a puzzle-like system. As you know this field in Norway is developing rapidly and recent events in the Nordic country prove the same. Inspiration from Draugen to use puzzles has already become a trend in the country.
Of course, In Draugen there are dialogues, and very pleasant, but in the simulators of walking, they have long been continuous. The problem is that this game tries to present itself as if the player’s choice affects something when in fact it is not. In addition, sometimes the replica, said by the hero, does not fit at all with what was displayed on the screen next to the icon of the appropriate button. The only thing that somehow resembles non-linearity is the opportunity to miss the achievement without playing, for example, on the piano, or not picking up a secret photo. “Missing” something can also be just in the course of the plot.
Draugen sometimes includes some of its logic and does not illuminate the object already seen if you do not re-engage what blocks it. The good of the character is forcibly unwrapped when the desired object must be found specifically in this room. Navigating the village is quite convenient and logical, then hints where to go next, sometimes just do not. It turns out something like pixel hunting within an open location.
Nature is impeccable
At the same time, the developers definitely succeeded in Norwegian nature. The game is built on Unreal Engine and, although it does not shine realistic interiors, the outdoors looks very nice thanks to the lighting and particle system. You feel the coolness and clean fresh air. The effect only increases when it starts to snow. Simon Poole, the undisputed composer of Red Thread Games, didn’t cheat either. It’s amazing how different the melodies he can make are memorable, echoing the narrative and the surroundings. For example, Dreamfall Chapters was full of mystery and futuristic at the same time, while the Draugen soundtrack was another berry field. Simon used mostly stringed instruments on top of each other. Sometimes in the background, you can hear something like tapping a hammer, which gives the soundtrack a sense of some antiquity. Almost all melodies are slow, but at the right moments, the atmosphere is pumped up in a couple of seconds.
Surprisingly, Red Thread Games works on several games at once. Svalbard has not been heard of anything for several years, as if the project was completely frozen and thrown somewhere in the Norwegian mountains. The second title has not yet been announced but is mentioned on the website of the Norwegian Film Institute and on Turnqvist’s personal website. It is a dystopia that evokes fond memories of Dreamfall. In the title role again a girl, again with unusual abilities. The fascist regime reigns around, revolutionary movements are growing. The description promises something like a “futuristic western” and a “road adventure.” And here on Dustborn, there is much more hope than Svalbard. Just think that this will be the real return of Red Thread Games and Turnquist’s stories. And Draugen swam into the distance as quickly as it ended.
