Released on March 27th, Karma: The Dark World, a horror game from the new studio Pollard, has garnered significant attention. Its striking visuals and intriguing premise have piqued the interest of many. But does the game live up to the hype, or is it a letdown? Let`s delve into the details.
The game is set in an alternate 1984 East Germany. Players take on the role of Daniel McGovern, a special agent working for the Leviathan corporation. His job involves investigating crimes, which uniquely includes diving into the minds of suspects. His latest case begins with a seemingly simple workplace theft, but it quickly escalates, requiring the intervention of the Bureau of Thoughts. Daniel soon realizes this crime is far more complex than it initially appears.
While the official synopsis sets the stage, the game actually starts with players controlling an amnesiac character – a common trope in horror. However, within minutes, the character remembers his name is Daniel and begins to unravel his own mysterious and enigmatic past.
Karma is primarily a “walking simulator,” where gameplay revolves around exploring linear environments and examining surroundings, with occasional puzzles to solve. A close comparison could be made to Observer by Bloober Team, sharing similarities in both narrative themes and mechanics. The key difference is the setting: alternative history replaces cyberpunk. However, many elements are reminiscent, including encounters with monsters during mind dives.
A notable distinction lies in the puzzles, which are more challenging and often require genuine thought. While not as intricate as classic adventure games like Myst or The Longest Journey, they are more demanding than typical walking simulator fare, which is a definite plus. This elevates the gameplay beyond the usual walking simulator experience, though it doesn`t fully diversify the gameplay, at least in the main part of the game.
Karma`s developers deserve praise for their inventive approach to mind-diving sequences. Players must enter the minds of two suspects, and the gameplay varies significantly in each case. The first subject`s mind is more conventional and follows a predictable path, while the second allows the developers` creativity to truly shine. This results in visually unique segments, such as a section entirely styled like an oil painting or an episode where you control a paper airplane.
Even more compelling are the monster encounters. Typically, these levels involve hiding or running away. However, hiding is not an option in Karma. Instead, the game challenges players to either flee (often in imaginative ways, like through levels with shifting geometry) or solve a puzzle to overcome the enemy. Solutions are usually intuitive, but some “battles” demand understanding the situation and utilizing specific mechanics. This approach feels significantly more engaging than typical encounters in similar games, a commendable aspect of the game`s design.
Collectible items, in the form of unique figurines hidden in puzzle-locked containers, also deserve mention. These puzzles require logic and understanding, with some surprisingly difficult. Players get only one attempt to solve them; failure means either abandoning the collectible or restarting the entire segment.
The visual presentation is also highly praiseworthy. Despite being developed by a small Chinese team, Karma boasts graphics comparable to AAA titles, at least in certain sections. Some scenes are genuinely breathtaking, thanks to skillful use of Unreal Engine 5`s unique features.
Beyond photorealism, the developers should be commended for their design choices. Many locations feature interesting stylization or unconventional themes, effectively conveying narrative points. Metaphors are abundant, appropriate given that much of the game unfolds within people`s minds, implying a degree of abstraction. However, these metaphors are generally easily understood and rarely overly obscure.
However, this reliance on metaphors also presents a problem, particularly in the first half of the game, where the developers heavily rely on very direct and obvious borrowings from other works.
It`s jarring to see a character`s subconscious in 1984 (even in an alternate timeline) almost literally replicate the Black Lodge from David Lynch`s Twin Peaks, which wouldn`t be released until 1990. Adding to this, there`s even a collectible Agent Cooper figurine. This blatant reference for the sake of reference feels weak, and the developers don`t stop there.
The Leviathan corporation is presented as overtly evil and controlling, set in 1984. Naturally, Orwell`s novel becomes a major reference point. These references are everywhere, from frequently appearing books to direct quotes like “freedom is slavery.” Adding to this are references to other games, films, and comics: Daniel`s colleagues include names like James Bond, Sam Bridges, and Bruce Wayne. The purpose of these references is unclear, and honestly, they detract from the atmosphere.
This heavy-handed referencing lasts for over an hour and becomes tiring enough to make players consider quitting due to the lack of original ideas. However, perseverance is rewarded, as the game eventually finds its footing and offers fresher, more engaging content.
The story itself becomes more captivating in the second half, revealing deeper details about both the protagonist and well-developed supporting characters. One female character`s fate is surprisingly authentic and tragic, conveyed through unique gameplay. Without spoilers, it`s worth noting the developers` attention to detail.
However, the overall narrative still feels somewhat disjointed, partly due to attempts at narrative layers and unnecessary complexities through details not directly related to the main plot. Side storylines are interesting in themselves but are interwoven in a way that can create a false sense of importance to the overall picture. This seems intentional, presented as a feature rather than a bug, as the entire game is filtered through an unreliable narrator, blurring the lines between reality and illusion. This approach is Karma`s defining characteristic, potentially appealing or off-putting depending on player preferences.
Considering Karma: The Dark World is a debut title from a Chinese studio, some issues are forgivable. The initial hours are a significant drawback, hard to overlook, understandably lowering the overall score, even though the game improves significantly later on. It will be fascinating to see what Pollard studio develops next; the potential is there, waiting to be fully realized. Perhaps we are witnessing the emergence of a new Bloober Team, who also started with niche games full of flaws but eventually captivated gamers with titles like the Silent Hill 2 remake. We will be watching with interest.
Finley Holt