The Quarry Test

From Dusk From Dusk

A relaxing summer at Hackett’s Quarry’s camp is drawing close. However, when the car is damaged, Seven teens must endure a day and a night in a secluded area, quickly becoming an unimaginable nightmare. As with these stories, supernatural dangers lurk in the woods with a tendency to target reckless young people.

The more extensive version of around 10 hours of play that the creators from Supermassive Games didn’t have in their Dark Pictures Anthology short stories also serves well as a narrative for The Quarry since the story’s writers will have longer, particularly at the beginning of the story, to introduce their characters and give them their shape. Naturally, as with all the other games in these types of games, they portray the various aspects of horror cliches. For instance, there’s the immature macho kid-head and the self-absorbed influencer blonde delicate nerd, the self-conscious dreamer and the sarcastic snoot who, in reality, conceals his insecurity by putting on a glam facade.

The fact that he’s gay and does not seem like a sympathetic character in the beginning also gives an unexpected ambiguity by which he displays the currently essential diversity flag to meet the quota but is possibly the first truly intriguingly designed homosexual persona in video game history. Kudos to the game’s creators for this all by themselves!

However, even without the fact that The Quarry’s cast is the very best Supermassive Games writers have done. This is primarily due to their incredibly mature storytelling that characterizes the characters, not through boring dialogue or clichéd behavior patterns, but rather with a few charming, nifty instances, such as when the simple-minded blowhard Jacob is unable to think of a word wheelbarrow and his girlfriend from summer is forced to bite his lips to prevent him from laughing at the situation. Even after having spent two weeks at camp, the indifferent, bad-for-nothing Dylan hasn’t learned how to sing the Boy Scouts’ song by heart, so he mumbles and mumbles words of the song. The scene where only an eerily hidden smile is seen on the cheeks of large Abigail suggests that she’s bursting with happiness because her lifetime crush has stood to defend her melt-in-your-mouth delicious.

In all, the constellations and especially love affairs between the characters turn out much more charming than in, say,

. These characters are nevertheless, undoubtedly, but just highly amusingly characterized. In contrast to the flitzpeeps with silhouettes in Backwoods horror films of the 1980s.

However, of course, The Quarry isn’t a dating simulation, so then it’s not long before horror descends on the group, something I’m not even able to discuss in depth since the narrative genre by itself within the horror genres in which The Quarry operates, would provide too many plot twists. However, as is the norm for Supermassive Games, The authors continue to cite various cinematic examples, including modern classics from the 80s, including Backwoods terror, which is popular with fans. Could therefore categorize The Quarry as the best Supermassive game to come out since Until Dawn, if only because the more significant setting gives the characters to grow, provides moments of pauses between events, as well as also allows for creating a variety of plot twists instead of making the ultimate twist out of a hat towards the close.

Significantly quicker and simpler action

However, The Quarry sags narratively sometimes and then, for the exact reason, specifically in the middle of the game, since The developers cannot find an alternative way to create an attack other than by sloppily moving off from the danger. The QuickTime events in these sequences are less complicated than in similar games such as Supermassive and Quantic Dream (you simply have to hit the same button for an incredibly long time). They also cause more of an ambiance of indifference than excitement in a fun way.

The difficulty of the skills scenes has been drastically reduced. For instance, the tense air-holding scene in the hideout, as in the earlier games, was still a source of sweat but is so easy In the new The Quarry that it does not seem like a game mechanic anymore. Only in the (rarely being played) gunfights, in which you need to capture an adversary with the crosshairs before shooting him, did I find it challenging to be able to get along with anyone (sorry, Kaitlyn and Abigail, who had to die due to my incompetence on the very first game). If you’re feeling the same way, you can slowly decrease the difficulty level of this and any other action discipline until you can turn off the entire thing. Additionally, The Quarry grants you three “live” during every playthrough, which allows you to rewind your action up to 3 times and erase a character’s death (though it didn’t stop nearly the entire cast from dying during the very first game).

I’m okay with that because I’ve always found awkward QuickTime reaction tests frustrating. But, I think many of my fellow editors at Gameswelt, who enjoy the thrill of this kind more than I do, would prefer a more accessible option at the very least. But, in the end, the presence of them frequently and rarely in the last Supermassive games and that in The Quarry, they almost only play a minor role is evidence that even the game’s developers do not trust the old-fashioned way of presenting the action in a method and instead make use of it with a purpose, such that the cutscenes do not play out entirely in a passive manner.

They may be advised in future games to put the idea to the test and then replace the concept with a more modern model, which they’ve previously done in one of the most thrilling games where you are required to escape from your enemies in the secluded space of a maze that has almost no fast-paced actions and must continuously decide whether to Run or hide? Fight or flee? Get out of the way or get your gun in a flash?

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The 186th End, but a bitch isn’t one.

This puts a greater emphasis on the decisions which have always formed the core gameplay of Supermassive games, regardless. A staggering number of distinct endings currently available through the Internet is not to be underestimated in this regard. The conclusions are purely based on calculations, whether the character is alive at the sequence’s final moments or has died prematurely. Like Until Dawn, Each choice results in, if not a total change in direction; every time, there is a subtle shift that, at the very least, appears as a flickering light on the screen. For instance, in the beginning, instead of pulling the road map from the trunk, you also snoop into your friend’s luggage to uncover his secret, then a disagreement occurs between the two five hours later. This doesn’t steer the flow of the tale in totally new directions but creates a slight shift in the interplay of the characters.

As in this instance, the unpredictability of choices usually takes effect significantly later than in previous games. If you insult the policeman in the first few minutes of the game or attempt to take his guns, you’ll be resentful and could not be rescued by him in the end. If you misplace your vehicle’s spark plug while swimming in the lake at the start of the course, you’ll be unable to get it back in the future. Also, could I have avoided the loss of the upper arm of one of my favorite characters by making different choices?

As the creators experiment with the conventions of the horror genre with enthusiasm at the story level, but they also engage with you on a game level, specifically with you or through your learned video game behavior that they frequently attempt to get you to. Therefore, it is often sensible not to make an option but instead allow the moment to pass unnoticed. For instance, when you decide to hit the action button while you are sneaking around the hillbilly’s home and then strum the piano and then strum the piano, you will likely attract the killers and then regret it at the same time for how foolish you might be. On the other hand, if you shoot blindly, moving through the undergrowth, you could shoot your comrade. Then there’s the delectable scene with the granny hillbilly, which you will indeed get caught in.

The creators have dramatically reduced the effort they put into the game compared to previous games. The decisions are now built on top of each other more clearly and aren’t spewed out by a vast web of interconnected relationships between every individual and the other one, the subtle implications of which are only able to be guessed. Since the story is organized more precisely this time with smaller plot lines and fewer branches, Many decisions, more so than those in predecessors, simply lead to different dialog lines and minor deviations or follow a strictly binary logic that can be either or not and left or right, either way, death or life. Many people will discover The Quarry more gripping and easy to comprehend due to these factors; however, in terms of gameplay, it’s about one head’s distance from the developer’s previous games.

Scenes that allow you to explore the scene from a third-person view are also less common and more compact in The Quarry. The Quarry is also an assortment of documents and other items that you needed to piece together the story of the previous films and, consequently, could only comprehend it in part, whereas in The Quarry, the story is told solely by cutting scenes.

One way is that this strategy reduces time spent in the absence of activity and makes The Quarry more cohesive, like an actual interactive film, and less of a confusing hybrid. On the other hand, however, it creates explanations and a series of twists that take over the viewer in such a rapid manner towards the conclusion that they’re often difficult to follow, making you feel more confused about the story, and instead of feeling like an actual game, it feels as if you’re riding the tracks of a ghost train, whose direction and speed are constantly dependent on.

In the middle portion, it makes the typical Supermassive problems with the narrative flow more evident because the monsters do not as much encroach on the protagonists’ defenses as threatening or dangers lurking in the background, but instead fight them in ongoing battles. It’s only at the end of the chapter that suspense dramaturgy is elevated to its peak, as the action cleverly alters the pace of the story with skillful adjustments to the settings, and the writers don’t just allow readers to show their teeth but trigger fundamental psychological fears like anxiety over claustrophobia or even the most terrifying nightmare that the chaser is like the hare the hedgehog, cannot be stopped despite the best efforts.

But, as with Dark Pictures, as in Dark Pictures games, subtle terror or even terrifying aren’t allowed in the predominantly action-driven scream. Between the role models declared of highly composed horror films like The Hills Have Eyes and this sampling of homage to sets, there’s a noticeable distinction in the result, which differentiates genuine masters from skilled crafters.

This is because the characters’ feelings and their relationship with one the other, and their rivalries, were carefully and meticulously constructed at the start but do not play an essential crucial role at the end, which is a shame because they could have been the crucial emotional breeding ground as well as the inspiration for the massive action. The variety of characters is also revealed to be insufficient to convey the characters’ personalities in the end fully, and since many of them end up dying early in the game, they are largely ignored or taken to a place in the scenario of their survival or are written nearly in isolation from the rest the story to keep the cost of production for the various storylines within a manageable budget for the creators.

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The night was dark, and the moon was shining brightly.

Visually, The Quarry once again appears in the absolute league one is familiar with through Supermassive Games and whose bar it raises a notch with the new version that we played with both the PS5 as well as the PC. The camera’s movement is just a few centimeters away from the table of the fortune-teller, making every tiny imperfection and grain apparent in the realistically lit wood, as well as the smallest of veins within the eyeball of the protagonist able to be seen; it’s more than only the best cinema of all time.

To fill the cast, The developers brought a number of famous horror icons to the stage this time around, whose filmography is a complete theme of the classics of the genre to which The Quarry pays homage: Lance Henriksen (Aliens), David Arquette (Scream) and Ted Raimi (brother of Dance of the Devil director Sam Raimi) first and foremost, but they also give their names and appearances due to the fact that they were cost prohibitive for appearances that were not more than in support roles. The leading parts, on the contrary, were occupied only by less or more famous newcomers, such as Justice Smith (Master Detective Pikachu, Jurassic World 2), Brenda Song (Dollface), and Ariel Winter (Modern Family).

In light of this effort, it’s even more disappointing that Supermassive Games was unable to grasp their enduring critique, which is that despite the high-end performance-capture, which captures every nostril twitch and wrinkles of the eyebrows and renders them in realistic expressions, facial features often fall into the Uncanny valley of mask-like distortions facial expressions. The teeth appear to be bare behind the eyes, and the lips appear to look like they are looking at the air.

At first look, however, the decision by the developers to hide this stunning visual beauty behind a curtain of perpetual darkness, in which nobody is able to be able to see it, let alone enjoy it, appears to be a little annoying to the point of being odd. In addition to that, similar to Little Hope and comparable to the final battle in Game of Thrones, it is pitch dark in the Quarry for the majority of the game. Really. Pitch. Dusk. To be truthful, I’m confused about what they are trying to achieve by this, or if they’re seeking to implement a bold concept of aesthetics or were just too inexperienced or incapable of creating ambiance with well-placed lighting effects like they did with House of Ashes. The darkness that is constant is not an ideal setting for suspense, nor the sense of direction, which is why it’s sometimes difficult even to identify where you are and what advice you’re taking and what that is blocking your path, and that’s why there’s nowhere to go.

However, the consistency in the way that they carry out their design aesthetics and the tiny flecks of light they clearly set at a sporadic pace with full intention makes it evident that this cannot be a result of chance or incompetence but an original visual concept that they resolutely reject the traditional visual style of video game stage designs. To be the sole person to be able to make this move and follow it to the end, it is imperative to give big kudos to the developers. Given the risk they take to accomplish this, specifically to conceal their fantastic artwork in the shadows at all times, their work could easily be described as admirable or pitiful.

The Quarry plays out as an eerie shadow play set against a dark background. Most of the time, the characters aren’t apparent as real-life figures but are only visible as shadows of dark shapes in a dark room in which only the outlines of moving objects are visible. The most minor sparkle, enough so that the edges of their hair shine like a hint of a halo, indicates their existence as an aura that resembles ghosts. The creators manage to employ this technique in a psychological way to give the character’s perception identical to the player’s. That is, if your characters can barely see their hand in the front of their eyes, walk through the darkness, and cannot distinguish the creature from a tree’s stump, Why should you be different?”

Anyone who participates in The Quarry in a dark space, which is probably the intention of the game at some point, will be drawn into the blackness that surrounds the screen and outside the screen, and eventually, there is no way to distinguish between the two. With their daring artistic design, the developers have made a massive stride in expanding the experience as an image of the game’s world to the real world.

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