From Innsmouth, With Love

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Call of the Cthulhu: Dark Corners of the Earth took a long time to develop. When it was finally released, its insanity mechanic and physics engine were no longer novelties, its visuals looked dated, and its feeble gunplay and frustrating stealth left FPS fans largely dissatisfied. The adventuring elements stood out among the genre, though, and the game did a fantastic job of implementing the Mythos’ bestiary.

The Call of the Cthulhu setting is very much about the unimaginable terrors of the cosmos. Humankind is fairly insignificant against this backdrop, and the notable races and entities range tremendously in motives and capabilities. Although Dark Corners of the Earth has its fair share of grunt enemies, trying to distill all of the Mythos into common FPS foes with movement speeds, line-of-sight ranges, HP values, weapon weaknesses, etc., wouldn’t have been true to the source material.

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The Lost City of Pnakotus is teased from the very beginning.

Thankfully Headfirst Productions didn’t go that route, instead focusing on how to best implement the iconic monstrosities as they appeared in the original stories and Chaosium’s Pen & Paper campaigns. Here are my three favourite examples:

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A Night With the Devil

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Introduction

Diablo is one of the most critically and commercially acclaimed videogame franchises of all time. It has spawned numerous “clones,” and its gameplay conventions have been adapted across multiple genres. The latest entry in the series, Diablo III, boasts the honour of being the fastest selling PC game of all time and the best selling PC game of all time.

So what makes the series so special? Almost to a fault, Diablo games are described as being incredibly addictive. That’s a fairly vague assertion, though, so I figured it’d be interesting to take a closer look at the original game and get a little closer to nailing down its je ne sais quois.

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The one that started it all.

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Trudy is Coming!

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Set in a rich Steampunk universe, Trudy’s Mechanicals is our upcoming turn-based tactics game in development for the PC.

Follow the plight of industrialized warriors as they fight for a spot aboard the floating airship nicknamed Trudy.

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Mistranslated Worlds

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Loose threads and general vagueness are often poor crutches in storytelling. These aspects tend to be weird for the sake of being weird, or serve as token springboards for potential sequels, or — worse yet — are indicative of the creator(s)’s lack of a narrative plan, e.g., Lost.

Mystery is inherently alluring, though, and it can also have a fulfilling payoff. The Souls games are a good example of that.

Each title begins with a seemingly disconnected CG intro, and proceeds to thrust the player into a crumbling world with barely an explanation. There are no lengthy expositions, conquests retold over animated world maps, extensive flashback sequences, etc. Instead, whatever pieces of narrative the player puts together are entirely optional and widely scattered about.

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Who is this Artorias? Probably just some throwaway text to go along with that big wolf boss…

A tib-bit mentioned in passing by an NPC foreshadows a gruesome battlefield encountered later in the game. Flavour text accompanying an item hints at a long-standing dynasty and its wealth. Parts of defaced statues allude to an outcast regal heir.

 

There’s not much of a plot to the player-controlled protagonist, but there’s an incredible sense of depth and history to the setting itself. It’s all very cohesive and consistent, and delivered with understated elegance.

 

That’s something incredibly rare for a brand new series, but the Souls games actually have something of a 20+ year development history.

From Software’s other games such as Eternal Ring, Shadow Tower, Evergrace, Otogi, and King’s Field contain bits of gameplay and ambiance present in the Souls titles: stamina-draining melee attacks, stat-boosting equipment, sporadically dispersed NPCs, non-linear exploration, item durability and crafting, fog-of-war/dynamic lighting, loading screen and item flavour text, highly destructible environments, “soul”-harvesting progression, etc.

All of these previous games experimented with and revised what’s so confidently delivered in Demon’s Souls and Dark Souls, but the series itself also follows in the footsteps of another older title: Wizardry.

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Somewhat famously, the Souls games also seem to borrow a few aesthetics from the Berserk manga.

Wizardry’s arrival and subsequent popularity in Japan is fairly well documented, and King’s Field, From Software’s inaugural release, is said to have been closely inspired by the Western CRPG. The interesting part is that Wizardry’s success seems to have come in part due to a shoddy localization. The only clear example of this I can find is a Wikipedia entry that mentions Blade Cusinart — a silly nod to Cuisinart food processors — evoking an aura of alien mythology.

I assume the results were similar with subsequent Wizardry titles, which contained even more pop culture references, but it’s hard to find any concrete evidence of how these were interpreted in Japan. Perhaps someone else could shine a light on the subject?

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It’s feeding time for Ostrava!

Regardless, it’s still fascinating to think about how a simple misconception could be taken to an extreme. Many of From Software’s titles found a niche audience and followed their own paths instead of borrowing the homogeneous conventions of their peers; what else could we have seen if a misunderstood production memo or marketing bullet-point was left to evolve in a bubble?

In the end the significance of Wizardy’s Japanese localization might be a bit overstated, but its heritage is certainly evident in the Souls games. They’re positively brimming with relics steeped in a strange, foreign history, and greatly contribute to the series’ unique style.

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