BOSS HAD ME SHOOK in SCORN Walkthrough Gameplay vs Dead Space remake realize totally misremembered
1BOSS HAD ME SHOOK in SCORNScorn Is True To Giger’s Work, But Needs More Dicks
The first-person horror adventure nails a mood and tone I have great appreciation for, but falls short in key ways
ByClaire Jackson
Yesterday 10:00AM
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A biomechanical body lays down with a glowing stomach.
Image: Ebb Software
Scorn is a rough game so far. It’s slow, send you down winding labyrinths with little guidance, offers zero narrative comforts (at least early on), and is set in a dramatically uncomfortable and grotesque world clearly inspired by the works of Swiss artist HR Giger. I’ve found it to be an unfun, painful experience. But if I’m being honest, I think the discomfort is the point. And in that, Scorn might be a successful game.
Scorn
Scorn, in the five hours I’ve spent with it, appeals to me because it imparts so much friction on the player. I am not necessarily having a good time, but am nonetheless being pulled down the corridors of this macabre plodfest, more adventure game than first-person shooter, because of how deeply the extremely Giger-esque art hits me.
Scorn succeeds at communicating, at utilizing, what I love about HR Giger’s work in two key ways. But it fails in a third, perhaps fatal one.
Its first success comes in nailing the confusion and surrealism. I don’t know what anything will do. As the gamer, I feel frustrated by that. But as myself, Claire, I am delighted by being so lost and forced into a place of unknowing.
Gif: Ebb Software / Kotaku
This is undoubtedly annoying, but I’d argue that, in the spirit of Giger, this is how it should be. If this game assigned random lore words and catchphrases to objects and spaces around you, or otherwise made itself more friendly, it would corrupt the natural flow of bizarre bullshit that you have to manage. The protagonist (thus far) is silent, leaving my own thoughts to narrate what I’m experiencing. Scorn becomes very personal in this vacuum of character and voice.
A game that so directly pulls from Giger should be inherently surrealist and confusing. That said, many of these puzzles are of the kind that we’ve seen before in other games. What makes them work, for me at least, brings me to Scorn’s second key success so far: It brings the “mechanical” of the “biomechanical” source material to life. Seeing this kind of art style bend and slither through my manipulations conveys a sense of movement that Giger’s still works typically do not.
Read More: When Disgustingly Sexual Art & Adventure Games Came Together
Scorn’s ultimate failing, in my opinion, has little to do with its clunkiness as a game. Sure, the protagonist walks way too slowly (get used to holding down “sprint”) and you really ought to turn off motion blur and crank up the FoV by at least a notch or two. Also, the game is suffering from a kind of stutter I’m starting to notice more and more of in Unreal Engine games. These are all valid reasons for players to bounce off this game.
But for me, its key failing is the art design’s almost shocking (given the source material’s) lack of engagement with human sexuality. I think Scorn could’ve stood to learn more from the eroticism of Giger’s work. There’s gory body horror here for sure, but the watering down of its erotic motifs deprives Scorn’s art of the sense of humanity, as twisted and warped as it may appear, present in Giger.
Scorn is not a fun game. It’s confusing and painful to play. It’s like listening to Dillinger Escape Plan in reverse. But for those reasons, I will continue plodding through these corridors so long as the sloppy combat doesn’t sour the experience too much.
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