![]() Instead it focuses on the compelling narrative and layered metaphors that brings the games deep twists and turns to life. Inmost doesn’t necessarily do anything special in terms of gameplay. Credit: Hidden Layer Games / Chucklefish LTD. The time spent playing as the Knight is more action centric, feeling more akin to something like Hollow Knight or Rogue Legacy than the slower pace found elsewhere in the game. The sections as the Child are almost entirely narrative driven, focusing on the strained relationship between the girl and her parents. The gameplay when playing as the Man – which comprises the bulk of the game – is at it’s core a simple puzzle platformer, bearing similarities with the aforementioned Limbo, as well as classic 2D adventure platformers like Another World/Out of this World or Flashback. There are three stories at play here that of the Man, the Knight and the Child and though they seem completely separate for a large portion of the games run time, it’s the intrinsic way that the connections between the three narratives overlap in the last act of the game, that is it’s absolute finest maneuver. What it lacks in terms of outright “external” horror, it instead chooses to focus inwards, which I imagine is no mistake, given the games title. ![]() Instead it plods along quite tragically, the occasional black goo monster or spider bringing us to an early demise, before we’re respawned moments earlier, ever so slightly wiser. It doesn’t focus on jump scares and rarely shows us monstrous entities out for our blood. Games like Playdead’s Limbo and Jasper Byrne’s Lone Survivor evoke an atmosphere so oppressing and peerless, that it truly showcases how unimportant and remissive the third dimension can be when bringing forth feelings of dread. There is something truly incredible about the power of 2D horror.
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