‘The Last Door’ is a door worth opening as what you’ll find on the other side is a solid, spooky and extremely well crafted game that manages to be both horribly unsettling and wonderfully enthralling.
Developer: The Game Kitchen
Genre: Horror adventure
Release date: May 20th 2014
Platforms: PC, Mac and Linux
ESRB: Rating pending
Created by the indie company, The Game Kitchen, ‘The Last Door’ is a point and click horror game that borders somewhere between quietly creepy and in your face horrifying. This compelling game will have you intrigued from the start as the beautifully orchestrated music plays and the sharp graphics drop down into a pixelated art style that makes you wonder why the developers have opted for this low resolution feel. Discard any initial reservations you had about its appearances as this is an extremely well made, well-polished game that is more than worthy of worldwide recognition.
Story and gameplay
The game is set in Victorian England and, after an incredibly morbid prologue, your character receives a letter from an old friend with a rather cryptic message on it. Prompted by the potentially serious implications from the letter you set out to Sussex to the lavish manor house that your friend owns but upon arrival it appears empty and abandoned. As you search the estate for clues you’ll uncover dark secrets, skeletons in the closets and a mystery that will only be explained by travelling across the country in subsequent chapters. The four chapters of this game were initially released separately and they still feel like very short standalone games that all follow on from one another, though that’s not a bad thing. If anything the use of cliff-hangers is very appealing as it builds up your anticipation to continue playing and makes the game feel even more riveting.
The use of episodes splits the game into nicely manageable segments as it will take several hours to complete the entire thing though the quality of the chapters does vary and, whilst each episode has its own strengths and weaknesses, the inconsistency makes the problems glaringly apparent. The first chapter for instance excels in atmosphere and emotion whilst being the shortest and easiest of all the chapters. In the second episode there is a greater depth of experience but some of the descriptions of items have been watered down to either simple statements or overly explanatory ones which, compared to those of the first chapter, hinders the feel of the environment. That said, these are very minor issues and as a whole the game plays fantastically with a strong focus on suspense and anticipation rather than gore and violence.
As is standard in point and click games your advancement is dependent on solving puzzles and, in this case, the puzzles are inventory based. This means that you’ll be frequently be searching for things you can pick up before using them on objects in the environment or combining them into something new. Often, things can be difficult to locate as the pixelated surroundings conceal things wonderfully but by scrolling over objects that can be examined a magnifying glass does appear so you’re not left helplessly confused at what something is. Overall the game gets harder as you progress which eases you very nicely into the game though there’s nothing agonizingly difficult about any of the puzzles. Though you’ll likely get stuck now and then the puzzles are all fairly logical and not in the least bit obscure so, once you figure it out, it becomes painfully clear what you had to do all along. That said, the puzzles are varied and interesting and usually revolve around trying to access some place or another as you’re generally being led on a journey to constantly discover a secret that is hidden.
Something that is particularly appealing is the game’s tendency to change the perspective that you’re playing through by quick insights into other characters or, most importantly, dreams and flashbacks that Devitt experiences himself. This continual shifting results in a richer and deeper understanding of the storyline and also the chance to do something a little different. I imagine that a constant focus on Devitt in the present time could have easily become restrictive and monotonous so it’s a welcomed addition to an already captivating game. Breaking up the gameplay experience through the employment of these dreams, flashbacks and briefly controlling other characters is not the only trick that the developers have up their sleeve as each chapter brings something new to the table. Whilst the first game is just you on your own subsequent chapters add in other character to talk to and the introduction of conversations is surprisingly powerful. Every chapter beginning starts with something shocking or disturbing that’s entirely different to the start of the last chapter so, whilst the game is short, you do cover a lot of ground and are treated to some intimately haunting scenes. The characters are well introduced, have interesting dialogue and talk in a manner fitting of the era. There are a lot of letters and diaries present in the game that you read for backstory and they’re very manageable in length and not in the least bit dull. Often, letters contain clues for puzzles and I enjoy how they not only had an atmospheric purpose but a practical one too.
A final critic I have is to do with the controls as in order to pick up items you must first examine them using the magnifying glass. I’m still somewhat undecided about this but the constant need to examine an object with one click then pick it up with another does become fairly irksome and, at the start of the game, it tended to result in me skipping over items thinking I had already obtained them. Of course this error went away as I adjusted but I prefer the option to both examine and immediately pick up things to not necessarily make the game simpler but rather make it less irritating. Other than this the controls are very easy to operate, the camera is perfect and the inclusion of skipping to areas you have already visited by double clicking on the exit saves a few long and boring walks. In a game where you may be stomping up and down the same corridor numerous times, this can only be a good thing.
Graphics and environments
The most important aspect of a horror game is its ability to scare you, or at least make you feel uneasy and apprehensive, and ‘The Last Door’ manages this fantastically partially due to how well the environments are portrayed. Walking through a pitch black corridor with nothing but a tiny light is as terrifying as it would be in any well-made horror game and whilst it could have been easy for it to lag behind its competition it is far from doing so. The environments are extremely detailed, spooky in some places and quite lovely in others. There’s plenty to look at and interact with and great care has been taken to flesh each individual room or area with enough decorational items that simply exist to add to the overall feel of the place.
Though you are initially restricted to the manor and its grounds you’ll travel to different places throughout the subsequent episodes and not once will you feel boxed in by limiting environments. Despite the low res quality of the game there are some truly beautiful scenes that are perfectly detailed and perfectly executed. The views of distant rolling landscapes and the layered, overcast skies remind me in turn of an obscure Van Gogh painting in that there’s such little information but the balance of hues and shades still results in a near perfect representation of what it is depicting. History buffs will also appreciate the many nods to the typical Victorian lifestyle and everything from Devitt’s travelling gear to the adornments of the interiors is perfectly in tune with the era it is illustrating.
Low resolution pixelated art styles are definitely taking more precedence in games and it goes to show that graphics simply aren’t everything. If anything I found the retro graphics to enhance the experience of this game as it played on the notion that there was something there, in the dark, something that you couldn’t quite see. The game manages to limit how much you can see, not only through actual darkness but by also removing that customary clearness and crispness of graphics that we’ve come to rely on so much. What this results in is your imagination running a little wild and the game is fully aware of this with as it applies very delicate, subtle graphical shifts that impact the atmosphere in huge ways. For a game to be able to produce a constant unsettling unease whilst not falling back on gore and high definition monsters is, for me, very impressive.
Music and audio
In a game that provides no spoken dialogue it was imperative that all remaining audio was done to perfection, and it has been. The music is strong and intense and, especially during the opening credits, it has this inexplicable ability to instil the feeling that you’re embarking on some dangerous and mysterious journey. During gameplay there are periods of complete and utter silence that may occur when entering a room or between music tracks and, when the music stops, a great sense of danger instantly washes over you. I remember one occasion where, standing in the back of an old school room the music stopped entirely leaving me alone in a silent, dead room. Then came a noise; a noise I’d not heard before in that room despite having visited there several times, it was muffled and distant but sounded distinctly like some trapped animal or cry for help. Without the ability to explore further I left immediately, even after returning to the same spot, never heard that noise again. It’s moments like this that build you up and make you feel like there’s something waiting for you in the dark, behind a corner, something that may jump out at you. It’s extremely atmospheric and these odd little sounds that come out of nowhere, like the tapping on a window, are profoundly powerful.
Overall
This is one of my favourite modern point and click game’s and I thoroughly enjoyed the care and attention that has been poured into it. The variety of environments and perspectives that the game gives you adds an additional layer of detail and stops the game from being repetitive and boring. The story itself is curious with a mixture of themes bordering strongly on the occult but mingled in with the subjects of insanity and madness which is very nineteenth century. You can tell the game is strongly inspired by Edgar Allen Poe’s works not only from the presence of crows who consistently feature in his works but of little details like the bird tapping on the glass in a home owned by a man who’s descended into madness whereas, in ‘The Raven’ the tapping of the raven sent the narrator into insanity. Likewise, the presence of blind black cat in one part of the story is a direct reference to another of Poe’s work; the Black Cat and there are plenty of other bits and pieces in there too, considering Poe was active during the same century the game was set it feels even more appropriate. History aside, this is an indie game with a difference and is well worth a play as it is beautifully orchestrated, wonderfully written and very well designed. You may or may not find it easy and I imagine it depends entirely on how much of the genre you play and how intuitive you are. The Game Kitchen is currently fundraising so they can complete Season 2 of ‘The Last Door’ so there’s plenty more in the pipeline if you enjoyed this fantastic game.
The Good:
- Very atmospheric with lots of suspense.
- Beautiful music, flawless audio.
- Decent, logical puzzles.
- Appealing graphical style.
- Nice range of environments.
- Layered, interesting storyline.
The Bad:
- A little too easy in places.
- Some chapters are weaker than others.
- Controls can be annoying.
Last thoughts: I love, love love love, this game and cannot wait for the next season. It would be better had it been longer but they're bringing more out so it's all good.
