The most disturbing horrors lurk in our mind. Lulled by an imaginary of infinite potential, they fertilize in the womb of the psyche, scratch and scratch the wall of reality, leading us to question reality itself and coherence. The pure terror, strong of the powerful steed that rides, the nightmare, affects our defenses, feeds fear, makes us paranoid and fragile, challenges mental health itself. Nothing can be more terrifying than what rests in the recesses of the psyche, a sign that the real danger is within us. The figure of IT he perfectly embodied this concept, exploiting the fears of his victims to make them his own, and the most effective scenes in King's book reside precisely in the unspoken, in unspecified incarnations, visions so terrifying that they could destroy the sanity of little George Denbrough in a fraction of a second, without explaining what the child actually saw. The terrifying Xenomorph drawn by the genius of Giger scares, but it is in the scenes in which we still do not know what it is around for the Nostromo that its presence is unbearable, because it reflects a danger not definable, not assimilable. In short, it is the fear of the unknown which creates the giant web that creates and strengthens all other forms of fear. The childish fear of the dark, the fear of death, the fear of strangers, all refer to the concept of fearing what is not known, which is not understood.
The Blair Witch Project, lucky American film of the 1999, played a lot with the tension of the spectator preventing him from seeing certain things, making the tension rise not based so much on the jump scare, or with sudden events and immediate increase in volume (which we could reduce to a simple one Booh! unexpected) but trying to disseminate various elements that led him to develop fear a sense of unease, which would then culminate only in the final with the real horror. The technique of found footage it increases the realism of what we are looking at obviously, proposing it as the simple and unfiltered report of a documentary, never finished, shot by the unfortunate boys victims of the witch. The title by Bloober Team and edited by Lionsgate Games does not follow the exploits of the progenitor (or his "sequel" to the 2016) but uses the imaginary created to give new life to the stories of the Blair Witch. There are also references to the film, of course, while at the same time trying to create a product with a well-defined identity, although faithful to the original work.
A Special Day
set two years after the facts that took place in The Blair Witch Project, the game puts us in the shoes of Ellis Lynch, a former policeman who participates in the search for the little Peter Shannon, lost in the forest of Black Hills. Helped by his trusted dog Bullet, Ellis's quest takes place in the depths of the forest, discovering his tremendous secrets step by step. Obviously, although there are other people looking for Peter, soon the contracts with the group are lost, continuing our mission only supported by our four-legged partner. Thanks to the help of Bullet we can scour the area, reach hidden objects and find tracks that can reveal precious clues to the position of the unfortunate child, in a race against time that very quickly it takes a crazy and desperate turn. The discovery of a small camp allows us to obtain the most important object of the adventure: a camera capable of manipulate the world around us. Finding the red boxes scattered around the playing area and forwarding or rewinding the tape it is possible to get in touch with the objects present in the films. A locked door in our world can be opened by viewing a movie that shows it wide open, a path blocked by fallen trees can be released by rewinding the tape that captures the exact moment of the crash. An unexpected element of play, which initially clashes with the excellent realism in which the game manages to immerse us but justified by the nature of the place in which we find ourselves and which provides an interesting cut to the dynamic puzzles of experience. The title therefore consists in wandering through the forest, encountering its absurd rules, trying not only to save the little Shannon but also our skin. There are no real flashes or news in the gameplay and there are burrs both on the management of some puzzle sessions, often too simplistic, and on pace of play, which although of limited duration, does not always manage to give the right weight to the situations in which one comes across, dwelling on some, hurrying on others. Moreover, the playful framework serves more than anything to push the player to continue and discover, layer by layer, the story of Ellis and its path in the forest. The potential of the game, undoubtedly present, is therefore not fully exploited and often leaves good ideas like this: ideas.
The pivot on which the entire experience of Blair Witch revolves therefore lies more on narration than on gameplay, and indeed there is a greater commitment in this sense. The atmosphere of the 90 years surrounds us immediately, thanks to Ellis's mobile phone that follows the sounds and screens of the iconic Nokia of that era. In addition to serving to receive or send phone calls and read messages related to the story, browsing the menu you can come across three different mini-games, the first two are parodies of Snake and Space Invaders while the third represents T-Rex Runner, the mini-game of Chrome playable when the internet is absent. An element that amplifies the immersion and has both a role centered in the story itself, and a more accessory but still very welcome. The camera is obviously a quote from the 99 movie and it too succeeds in the task of being playful and atmospheric element at the same time. The Forest of Black Hills presents various areas, more or less extensive, trying to differentiate the landscapes of production, without clinging to a single perspective. In this sense the title it works, managing to offer enough variety to a location that can hardly offer various ideas. I try to break the pace in the forest further flashback by Ellis, a character from the past who is anything but rosy. Unfortunately, if the first ones work at having, showing some dynamics related to his failed marriage, the ones that should delineate the character's background are too bland, abusing a cliché too much abused, not intriguing and even a little out of place, trying to go and throw more (low quality) meat on the fire. This aspect is the one that clashes with the good atmosphere that is created in each other, giving a cut to the character who tries to deepen it but actually makes it more speckled, yet another victim of a very concrete but also very obvious horror conception . Effective moments and good ideas are not lacking (although the various twists and turns are all very predictable) and in the early hours the game is also extremely interesting in some ways but once the nodes come to a head and get closer to thefinal tasteless, the game inevitably loses enamel, showing a weakness also in the writing that does not totally challenge the experience but certainly penalizes it strongly.
"Are you registering?"
Considered the budge priceto which it is proposed, technically Blair Witch turns out more than sufficient. There are no panoramas to leave you speechless and, in general, the game is permeated by a certain one roughness of models ma the excellent work done on audio (assisted by a convincing recitation) and by building the game world manage to create a convincing and immersive atmosphere, albeit with some smear due to their very own technical limits, like sporadic glitches and sometimes very poor visual elements. The artistic sector is fluctuating but manages to give some glimpses worthy of note. The various references to The Blair Witch Project help in this sense, without forcing the product in a direction that is too closed but rather effectively accompanying it from the beginning to the end.
Blair Witch is a title that does not fully convince, yet that should not be avoided regardless. Knowing what to do, perhaps even having had the chance to play other team titles, and not facing the game with too high expectations, you can safely give production a chance without getting burned. Blair Witch somehow manages to be more than the sum of its parts and could therefore make the joy of those who love this kind of production, it is very difficult to convince those who simply want to look out for this genre, perhaps because they are admirers of the work from which it takes its cue. The good ideas and the well-built atmosphere is weakened by a certain underlying "laziness" that seems to delineate a not-too-secure development of the work he was facing, limping right in the final session, which betrays the expectations of a powerful closure, which could give a greater sense to the path to the same. While missing the bite necessary to make a memorable story and remaining a title that will hardly remain in the memory of players for long, Blair Witch remains a title with a certain charm, which hardly reaches sufficiency.