Dusk is badass. I don’t know of any other way to start talking about this game other than to just get that out there. Dusk is a first-person action game that is more similar to Quake than to the story and spectacle heavy FPS games that come out today. This is immediately apparent when you first get a look at its grungy, low-poly visuals. But beyond the superficial, Dusk perfectly encapsulates what made those early first person action games so much fun, and, in a lot of ways, it exceeds those inspirations. That said, it might seem like a strange choice for a Halloween game, but I was personally surprised to discover that it was one of the most gruesome and disturbing experiences I’ve played in a while.
Dusk begins in media res with the player character waking up as an unwilling cult sacrifice in the basement of a farmhouse guarded by hooded men wielding chainsaws. After managing to escape captivity, the player emerges into a quiet countryside where monsters and cultists lurk in every dark corner. Eventually, the player reaches the government-quarantined town of Dusk, deep beneath which a secretive archaeological site has unleashed cosmic horror upon the world. The player’s ultimate goal becomes traverse a strange parallel dimension that spawned the twisted alien abominations that are assaulting the very fabric of Earth’s reality.
Dusk doesn’t have much overt storytelling. The motives of the mute main character are never explained in-game. There are no cutscenes and no other friendly characters with which to interact. The cult leader will occasionally telepathically taunt the player, but there’s no one to instruct the player on specifically what they should be doing which contrasts with the majority of action games released today. Storytelling is really more environmental in nature. The player learns about the world of Dusk via the places and things they witness along their journey.
I think the low-level storytelling is a key part of Dusk’s appeal. Modern video games, especially big budget ones, tend to have a preoccupation with making sure the player always understands exactly what is happening and what they should be doing. As a result, they often tend to get bogged down with cutscenes, radio conversations, tutorials, setpieces, etc. Dusk, on the other hand, just lets the player run loose. As I have limited free time for games these days, the fact that Dusk just cuts straight to the fun stuff is incredibly refreshing.
The key to this is in how incredibly well-designed Dusk’s levels are. They tend to be highly non-linear, offering the player multiple paths and directions to explore at any given moment. Stages like these could falter by becoming too confusing or maze-like, too easy for the player to get lost, but I never really had this issue with Dusk. It is complex without being confusing. Each area feels distinctive and memorable, which makes it easy to find one’s way around. I really enjoyed exploring this game, discovering what oddities and horrific sights lay around every corner, unlocking the vast number of secrets the game hides, and getting hooked on the adrenaline rush that each enemy ambush brought.
With 33 levels divided across 3 episodes, I was a bit worried that the game would start to get repetitive. Fortunately, the game has a ton of imagination packed into its sweeping journey. What starts off as a struggle for survival in a dark countryside filled with cultists and killers eventually morphs into a trek through secretive high-tech facilities harboring strange and unrestrained experiments and eventually across the warped landscapes of cosmic abomination. With each loading screen to usher in a new chapter, I always felt on the edge of something strange and surprising.
As an action game, Dusk is a lightfooted run-and-gun. Like Serious Sam or Quake, the player has gotta always be moving, less they become an easy target. There is a good variety of weapons, and the enemies are designed in such a way that makes most of the weapons fairly useful to the player. In a lot of Dusk’s classic counterparts, I usually found myself defaulting to using only one or two weapons that were clearly the most powerful, and only grudgingly using the lesser ones when I was out of ammo for the favorites. Dusk, on the other hand, does a good job of designing different situations that uniquely suit particular weapons, thus giving the player fairly frequent reason to mix things up and not simply rely on the shotgun or rocket launcher.
Despite the fact that Dusk is a fairly kinetic and aggressive action game, I was impressed by how well the developers were able to infuse it with the atmosphere and tension of a horror game. You wouldn’t necessarily think that an action game where the player is routinely outgunning dozens of enemies at a time could be scary, but Dusk can often be truly suspenseful. There were a ton of times when I was getting goosebumps because I knew a disturbing reveal was being ominously teased. The game oozes atmosphere, and I thought it was great at psyching me out. One of my favorite levels features the player descending downward through a cave that leads deep into the Earth. As the cave got narrower and more tortuous, I found myself becoming increasingly anxious about what I would find at the end of the long, downward spiraling tunnel. Something that really helps is the grungy, low-poly graphics which go beyond being a sentimental call back to classic games and provide a level of abstraction, aliennes, and crudeness that greatly enhance the murky and unsettling nature of Dusk’s world. Simply put, the game does an amazing job at balancing the power fantasy of taking on huge hordes of enemies with a feeling of vulnerability toward the hidden threats that lie in wait for the player.
Dusk is a quintessential example of a nostalgia trip done right. It doesn’t merely exist as a desperate attempt to recapture the fond memories of the past. Rather, it understands the elements that made those classics so great, elements which are often discarded or downplayed in modern game design, and then it enhances and advances those elements with its own ideas in a way that exceeds its inspirations. I honestly have no hesitation in saying that Dusk truly outdoes many of the action games that it seeks to honor.
Posted on October 10, 2019, in Essays, Halloween Gaming and tagged Dusk, Dusk PC, First Person Shooters, Gaming, Indie Games, PC Gaming, Video Games. Bookmark the permalink. 1 Comment.
I have not played this game. I was interested to read the comments about the positive aspects of the older games. There is something atmospheric about the graphics used in early shooter games, I usually find that these games have a slightly pixelated quality (which created a sense that the locations they depict are recognisable, but there was an unreal feeling about them) and use muted colours. I remember that Soldier of Fortune, which was a violent and action-packed shooter game, gave me a very haunted feeling, partly because of it’s design. While I like games with a developed story, I also find it very enjoyable to simply run around a location shooting at enemies. This game does seem to use some interesting ideas. The varied environments seem interesting and I like that the game was able to create a frightening atmosphere. I am also interested by the well-designed levels. I enjoyed some of the comments in the article, such as the descriptions of the weapons and how the game manages to frighten the player, while creating a sense of invulnerability.
How does the player learn about the story from exploring the environment? What are the imaginative ideas used in the game? What secrets are used in the game?