Penumbra Black Plague
Sep 23rd, 2008 by cm1
When last we left Philip, the protagonist of last year’s first-person horror adventure Penumbra: Overture, he had just been knocked out cold in a dank underground lair. This sudden cliffhanger was just about the only truly annoying moment in Frictional Games’ freshman effort, though, because the Swedish developer did yeoman work setting up both a macabre mood and puzzles rooted in the real world. Now, the series comes to a close with Penumbra: Black Plague, a superb sequel that continues with the creeps and common-sense conundrums.
Bloody hints can be found everywhere, indicating what is likely in store for you if you don’t escape the underground.
As with Overture, the biggest selling point in Black Plague is the physics-dependent design. The Lovecraft-influenced story about a young man investigating an underground base in Greenland–apparently contaminated with some sort of infection–is decidedly weird, but not nearly as original as the puzzle design. Everything in the game is based on real-world logic, but not the Bizarro World nonsense that dominates traditional adventure games. All of the problems here are tied to accurate physics and environments that are packed with objects that can be directly manipulated. There are no pixel hunts, no running around to pull a dizzying succession of levers, no directing laser beams at mirrors, and no slapping tape on a cat to make a moustache. Here you simply explore spooky underground settings to try to escape by picking up and sliding around boxes, rocks, chairs, crates, flares, or other sorts of detritus.
Every action you take is modeled on real-life movements. To open a drawer, you’ve got to use the mouse to click on the handle and then pull the mouse back to mimic sliding it open. Doors are opened the same way, with a click and a pull. Throwing a switch is accomplished by grabbing it with the cursor and then sliding the mouse downward. Wheels are turned by rotating the mouse. These sorts of motions can be a touch finicky at times, especially when hauling around long objects, such as planks or shelves, that get too easily snagged on doorways and walls, but they do a fantastic job of underlining the reality of your situation. Philip’s body is even a part of the simulation because you have to be careful not to step on objects that you’re trying to drag. Unlike so many other first-person games where you’re basically just a formless mass behind a camera, here your character has real presence.
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