Way more frightening than anything in the first game. Also, the inconsistency of the enemy encounters is noticeably annoying, but the encounters it does have are BLISTERINGLY intense. The plot lays out like Bioshock, which also means it has pacing issues. The graphics are also fantastic despite having indie origins. The writing is great, the voice acting is top notch (despite some cheap sound effects), and the atmosphere is PERFECT. I have no problem with that, as I know that linear gameplay is the best way to tell a story. Surprisingly enough, for how amazing of a plot this game has (as pretentiously metaphorical it can be sometimes), there's very few plot holes and the level design is near perfect despite it being so incredibly linear. I went into this game expecting a campy storyline with some great scares, but what I got instead was the most unsettling game I have ever played. I went into this game expecting a campy storyline with some Simply put, this is the exact median between Dear Esther and The Dark Decent. The house is silent, the ground beneath him shaking at the will of some infernal machine: all he knows is that his children are in grave peril, and it is up to him to save them.Unique Selling PointsFresh and new approach to the Amnesia world while staying true to its origins.The darkest, most horrific tale ever told in a videogame.Stunning soundtrack by award-winning composer Jessica Curry.Simply put, this is the exact median between Dear Esther and The Dark Decent. Tortured by visions of a disastrous expedition to Mexico, broken on the failing dreams of an industrial utopia, wracked with guilt and tropical disease, he wakes into a nightmare. It will bury its snout into your ribs and it will eat your heart.The year is 1899Wealthy industrialist Oswald Mandus awakes in his bed, wracked with fever and haunted by dreams of a dark and hellish engine. From the creators of Amnesia: The Dark Descent and Dear Esther comes a new first-person horrorgame that will drag you to the depths of greed, power and madness.
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