Francis Davies argues with himself in public about writing, books, and more.
You could be forgiven for mistaking Scorn for an action survival horror FPS. It is not. It is a surrealist art-inspired existentialist puzzler. There’s a whole academic distinction between the subtleties of horror and terror, but to forego misplaced concerns given their contextual irrelevance, Scorn is very much a slow-burn experience. In keeping with the visual themes, it seems more inclined towards burrowing under your skin than providing a palpitation-provoking distraction. How well it achieves that goal is going to be utterly dependent on what you came looking for.
There’s something sublimely creepy about Innsmouth. Perhaps more so than most other settings in his mythos. Lovecraft fans pored through the extended excuse for a lore-dump that constitutes The Mountains of Madness. Arkham is always described in theatrical gothic tones, all sharp steeples and dark alleys where learned men guard vaults of mind-shattering knowledge in the concealed corners of university archives by day, and unknowable things stalk the shadows in the night. And don’t discount Dunwich; a quaint forgotten backwater where inbred rustics tend to themselves and attempt to avoid having their homes flattened by the offspring of cooped up farmers daughters with tentacle fetishes, and outer gods with too much to say on the subject of gates and keys and so on.
The aesthetic of the first Quake persists. But it’s worth considering whether the suggestion that there might be a story lurking in the background, is the very thing that has kept Quake in public consciousness over the years.