by Jed Pressgrove
Paratopic will try anything to unnerve you. Hard-to-follow but violent plot? Check. Abnormal-looking humans? Check. Disturbingly garbled dialogue? Check. Dubious VHS tapes? Check. Far from a personal vision, this crude horror tale from developers Jess Harvey and Doc Burford is one of the most derivative and snooze-worthy games of the year.
Right away, Paratopic appears to be an amateurish idea thief that thrives on the devices of other works of art. The opening line of dialogue, “You have an enemy, friendo,” recalls the deadpan, subtly threatening, and amusing language of the No Country for Old Men antagonist Anton Chigurh, but the character who delivers these words carries no significance outside of informing you that you’re playing as a smuggler at the beginning of the game. Paratopic’s introductory scene takes place in a dimly lit hallway, and that, coupled with the PS1-era visuals, forces a comparison to Silent Hill, which comes to mind again later in the game when a mutilated human body with a television for a head stumbles toward you. Such imagery might be more frightening if it didn’t rely on overused concepts and if the game’s script gave one a reason to care about the vaguely defined characters.
In other sequences, Paratopic not only swipes material from another game but also seems to do its damnedest to be as monotonous as possible as part of some uninspired attempt to build suspense or to acknowledge the little things in life. Three times you must steer a car for minutes on uneventful stretches of road. Besides steering and ramming the car into rails (which never results in any damage to the vehicle), you can look around and turn the radio dials to hear ominous-sounding gibberish from commentators. With these driving scenes, Paratopic clearly copies the 2014 independent title Glitchhikers. While Glitchhikers itself is an uneven blend of surrealism and the common human experience of taking a late-night drive, it never comes across as a ripoff of another game like Paratopic.
Paratopic gets close to being subversive when it has the player, on multiple occasions, wander in the woods and take snapshots as a photographer. The picture-taking is quite meaningless by itself. Because this activity isn’t presented as part of a photo mode within a larger game, the scenes in the woods are meant to simulate the mundane actions of a hiker in a strange, isolated place. A more humorous tone might have allowed Paratopic to satirize the cliched fetishization of scenery in games like Firewatch, but the extended walks in the woods ultimately function as a dreary way to build up to a nasty discovery. The photographer, the innocent bystander, is nothing more than another first-person shell from which the player laps up the game’s overly deliberate weirdness. As a story, Paratopic favors mood over substance, but the mood, pathetically, is not even halfway extraordinary.