It’s just tentacles, tentacles, tentacles.

They don’t go away for the rest of the game. When the tentacles appear, they are relentless. And while these story beats worked in context, I just didn’t want to slog through them. But then Moons of Madness takes a turn, and through its own trippy logic, leaves the space station behind for a while. This was a new take on Lovecraftian horror, creeping fear in a new suit. Related Content – The Sinking City PS4 Reviewīut still, I was happy to see all of the familiar talk of “gaping maws”, “staring into the abyss” and “bathing in the filth” in this nicely rendered new environment. The horror elements in Moons of Madness are well done, but with the recent glut of Lovecraft horror titles, they feel awfully familiar. So, when the inevitable tentacles start appearing around the edges of Shane’s vision, my heart began to sink. I enjoyed the early puzzles, with Shane finding various pieces of equipment to do his job. The design of the Mars station was so strong, and the performances of the voice actors was so good, that I found myself wishing that this was just a Mars survival game. Though there were hints during this sequence that things were going off the rails, I didn’t want to face the reality that this was going to turn into a horror game. More Than Other Horror Games, I Didn’t Want The Horror Not that he was in any danger, it was just a thing I had to do to keep going. Several times while aligning the satellite dishes, I had to stop and fill Shane’s oxygen.

This series of actions is repeated several times, and rather than becoming a chore, the ritual helps sell the reality that this guy is in space, and in space people must be careful. Shane leaves through an airlock, with the player having to don a spacesuit, fill their oxygen, lock the inner door, expel the atmosphere, and then leave through the outer door. Very early in the game, he is sent out to align some malfunctioning satellite dishes. Shane’s world extends beyond the habitat.

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