Before diving into the heart of “From the Damned to Loving Blossoms,” one is greeted with the usual array of settings typical of modern video games. Adjustments for gamma levels, presentation settings, HUD preferences, and language options are all available. However, a unique feature in the subtitling menu stands out. For English speakers, there are two sets of captions: a default version that translates dialogue into Received Pronunciation and an “English (United Kingdom)” variant that offers a verbatim transcript of the characters’ speech.
The reason for this distinction lies in the predominantly Scottish and Yorkshire cast of the game. Their specific way of speaking might be challenging for players unfamiliar with these regional dialects. While some terms like “leccy” (electricity) and “me old mucker” (a term of endearment) are easy to infer, others like “numpty” (idiot) and “blotted” (drunk) might be less obvious. The subtitles help decode these regionalisms, ensuring everyone can follow the story.
The game’s commitment to authentic regional dialogue is commendable. It’s rare to hear characters who sound like everyday people from these regions in video games. Usually, such characters are relegated to background roles in medieval fantasy RPGs. Here, working-class Scots and Northerners are the heroes, speaking in their authentic voices, complete with regional slang and expletives.
Writer Dan Pinchbeck’s decision to lean into this direction adds a vivid sense of time and place to the game. The result is a game with a distinct personality, setting it apart from other horror releases.
Contrary to what the preamble might suggest, “From the Damned to Loving Blossoms” is not a grounded kitchen sink drama. It’s a full-blooded horror experience, akin to “Amnesia” or “Outlast,” but from a fresh perspective. While class is an underlying theme, the game also features big scary monsters, ample gore, and intense sequences.
Developed by The Chinese Room, known for “Dear Esther” and “Everybody’s Gone to the Rapture,” the game incorporates elements of the walking-sim genre. However, it also includes proper stealth mechanics and exhilarating chases, making it the developer’s most interactive outing yet.
Set in December 1975, the game follows Cameron “Caz” McLeary, an electrician on the Beira D oil drilling platform in the North Sea. Caz took the job to escape the repercussions of a crime he committed on the mainland. Despite having a wife and child back home, his relationships have soured due to his criminal status.
Caz endures harsh weather and treatment from the foreman until a calamity plunges the Beira D into chaos. The team hits something unexpected during drilling, causing the facility to catch fire and sink. They also disturb a terrible entity that starts picking off the crew, absorbing them into its structure.
The game is a desperate fight for survival, filled with unsettling, dramatic, and visually spectacular moments. The attention to detail is remarkable, evoking a precise time and place. The environmental touches might not resonate with everyone, but they transport players to 1970s Britain, a decade defined by austerity, labor disputes, and political divides.
The Beira D’s communal areas are evocative time capsules, filled with era-appropriate details. Newspaper headlines, sinister Christmas cards, and a National Front poster in one character’s quarters all contribute to the setting. The period setting is essential to the story, informing the characterisation of Caz and his colleagues and playing into the theme of class.
The game immerses players in Caz’s brutal working conditions. The oil rig is a terrifying place even before any paranormal complications arise. Poorly maintained equipment, safety hazards, and the risk of decompression sickness are just some of the dangers. The lives of Caz and his fellow workers hang in the balance every day, undervalued by the company suits.
When the eldritch terrors awaken, the situation worsens. Players must frantically fix problems to prevent the facility from exploding. These sections are the closest thing to puzzles in the game, requiring players to follow step-by-step protocols. The tasks, such as readying lifeboats and equalising water pressure, are thoroughly researched, adding to the game’s authenticity.
The game’s scripted events are linear but thrilling, featuring vertiginous platforming sections and harrowing moments like swimming through a flooded chamber. The sound design by Daan Hendriks is exceptional, with every metallic creak and scrape adding to the tension.
The developers make players wait for the grand debut of the hideous creatures. The first 90 minutes are a slow burn, building atmosphere and tension. When the creatures finally appear, their design is a bit of a let-down, resembling rejects from “The Thing” prequel. The enemy AI is also basic, making stealth sections less challenging.
Despite these flaws, the game excels in its setting, soundscape, writing, and art direction. Its comprehensive accessibility features ensure that everyone can enjoy it. “From the Damned to Loving Blossoms” is one of The Chinese Room’s best releases, offering a unique and immersive horror experience.
